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Full text of "Knight Letter No. 90"

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T/^^ L^tt'i^ Carroll Society of North America 




spring 2013 



Volume II Issue 20 



Number 90 




Knight Letter is the official magazine of the Lewis Carroll Society of North America. 

It is published twice a year and is distributed free to all members. 

Editorial correspondence should be sent to 

the Editor in Chief at mahendra373@hotmail.com. 

SUBMISSIONS 

Submissions for The Rectory Umbrella and Mischmasch should be sent to 

mahendra373@hotmail.com or pcolacino@austin.rr.com. 

Submissions and suggestions for Serendipidity and Sic Sic Sic should be sent to 

andrewogus@mindspring.com. 

Submissions and suggestions for All Must Have Prizes should be sent to 

joel@thebirenbaums.net. 

Submissions and suggestions for From Our Far-Flung Correspondents should be sent to 

farflungknight@gmail.com. 

© 2013 The Lewis Carroll Society of North America 

ISSN 0193-886X 

Mahendra Singh, Editor in Chief 
Patricia Colacino, Editor, Rectory Umbrella 

Ann Buki, Editor, Carrollian Notes 

Cindy Watter, Editor, Of Books and Things 

Rachel Eley, Editor, From Our Far-Flung Correspondents 

Foxxe Editorial Semces, Copyeditor 

Mark Burstein, Production Editor 

Sarah Adams-Kiddy, Proofreader 

Andrew H. Ogus, Designer 

THE LEWIS CARROLL SOCIETY OF NORTH AMERICA 

President: 
Mark Burstein, president@lewiscarroll.org 

Vice-Presiden t: 
Cindy Watter, hedgehogccw@sbcglobal.net 

Secretary: 
Clare Imholtz, secretaiy@lewiscarroll.org 

www.LewisCarroU.org 

Annual membership dues are U.S. $35 (regular), 
$50 (international), and $100 (sustaining). 

Subscriptions, correspondence, and inquiries should be addressed to: 

Clare Imholtz, LCSNA Secretary 

11935 Beltsville Dr. 

Beltsville, Maryland 20705 

Additional contributors to this issue: 
Clare Imholtz, Dr. Selwyn Goodacre, Mark Richards, and Rose Owens 

On the cover: LEGO assemblage by Tyler (LEGOhaulic) Clites (p. 12) 




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THe ReCTORY UMBRBLLA 

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A Weekend in North Carroll-ina 

CLARE IMHOLTZ <Sr' AUGUST A. IMHOLTZ, JR. 

Alice in Crankland 

HARRY FURNISS 

Alice in LEGOland 

MARK BURSTEIN 

Alice Goes LEGO: The Works of Eric Harshbarger 

ROSE OWENS 



Contemporary Reviews o/Sylvie & Bruno, Continued 15 

CLARE IMHOLTZ 

Alice and the Roosevelts: Eleanor and Franklin 
in Wonderland 

AUGUSTA. IMHOLTZ, JR. 

MISCHMASCH 

m 

Leaves from the Deanery Garden — 
Serendipity — Ravings 

All Must Have Prizes 

JOEL BIRENBAUM 

A Reflection on Lewis Carroll 3 1 

ANDREW WOODHAM 

In Memoriam: Anne Clark Amor, Morris Grossman 34 

AUGUSTA. IMHOLTZ, JR. 

Alice 150: Celebrating Wonderland 36 

JOEL BIRENBAUM 
CARROLLIAN NOTBS 

IM 

Curiouser & Curiouser: The Evolution of Wonderland 37 

ANN BUKI 



Alice in Sunderland 38 

DAYNA NUHN 

He Died While Still Having So Much More to Say 39 

MADISON HATTA 

OF BOOKS AND THINGS 



1 2 Three Made-for-TV "Movies " 

GEOFF CHANDLER, MARK BURSTEIN 

1 Q Gaynor Arnold 's After Such Kindness 

CLARE IMHOLTZ 

Pat Andrea 's Les Aventures d'Alice au pays des 
merveilles &'Tic I'autre cote du miroir 

ANDREW OGUS 



22 


Aceil in addelnnorW: A Bkoo 




MARK BURSTEIN 




Illustrating Alice 




ANDREW OGUS 




The Graphic Canon, Vol. 2 


25 


MARK BURSTEIN 


29 


Evergreen 




MARK BURSTEIN 



FROM OUR FAR-FLUNG 
CORReSPONDeNTS 

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40 



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44 



Art & Illustration — Articles isr" Academia — 

Books — Events, Exhibits, & Places — Internet & Technology — 

Movies isf Television — Music — Performing Arts — Things 45 



Alice in. Wonderland Bitmapped 



38 



ANN BUKI 



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Writing an editorial for a journal devoted 
to Lewis Carroll is probably similar to the 
process that any conscientious preach- 
er goes through when composing his or her weekly 
Sunday sermon. I look about for a suitable quote, 
hopefully both timely and timeless, to riff on and 
then expand upon it for at least 400 words, all the 
while fervently praying that I haven't used the same 
quotation in a recent editorial. Hopefully, readers' 
memories are as poor as mine (a comforting and even 
democratic thought), but it still doesn't get me off 
the hook. 

What does get me off the hook is the fact that un- 
like that of Sunday morning sermons, my subject mat- 
ter is pure Nonsense. Logically speaking, anything I 
might have to say about the contents of this journal 
is superfluous, a futile exercise in trying to make or- 
der of that which is inherently disordered. If I were to 
mention that this issue is focused (in a rather bleary- 
eyed, soporific Dormousey way) upon the subject of 
LEGOs and Lewis Carroll, I would be stretching the 
truth a bit. LEGOs are the modular components of a 
repetitive matrix, whereas the works of Lewis Carroll 
are the exact opposite: a poke in the nose of all modu- 
lar thinking whatsoever. 

I could also mention that this issue sheds some 
light upon Eleanor and F. D. Roosevelt's love for the 
Alice books, which is another paradoxical stab at try- 
ing to say that those who wield power often enjoy 



being rendered powerless by the nonsense of child- 
hood. If that doesn't get the point across, I refer you 
to the ingenious Carrollian crossword-cum-doublet 
puzzle that a talented grad student at USC has sub- 
mitted to us. In this case, we have a reversal of the 
LEGO paradox, in which we are now forcing the raw 
material of all Carrollian nonsense — ^words — into an 
interlocking and modular matrix . 

There's probably a moral in all of the above, but 
in lieu of wasting more ink, I'd prefer to touch upon 
a more practical subject. As the LCSNA's membership 
increases, it's important that new — and old — mem- 
bers know that this journal is their journal. We have 
many talented and generous volunteers who write ar- 
ticles, reviews, and interviews for us, but there is room 
on these pages for more contributors. If you feel like 
submitting something to the KL, do so! We'd love to 
hear about Carrollian-themed events in your area, or 
know more about artists and scholars and educators 
with an interest in Carroll. Simply e-mail me if you 
have an idea for a submission. From mathematics to 
collectibles to the arts, we're interested in what you 
have to say about LC. 

Frankly, it's not that hard, after all; I've been 
rambling on for almost 400 words, and I'm starting 
to think you might do something better with the time 
than waste it in reading editorials that have no an- 
swers. Of course, if I knew Time as well as most of our 
readers do, I wouldn't talk about wasting it. 

MAHENDRA SINGH 







THe ReCTORY UMBRGLLA 




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CLARE IMHOLTZ <&= AUGUST A. IMHOLTZ, JR. 



Our Society first met in Winston-Salem, North 
Carolina, in May 1989 — a meeting made 
memorable by a Kansas-like storm that had 
more in common with The Wizard of Oz than Alice — 
and many of us returned to Winston, as the city is af- 
fectionately called by its residents, for the Second In- 
ternational Lewis Carroll Conference in June, 1994. 
Our third visit, on April 19-21, was also a charm (de- 
spite deja vu tornado-like weather blasting through 
on Friday). 

Winston tastes good: Carrollians who attended 
truly got the flavor of this revivified former tobacco 
city. We ate and drank Winston-Salem specialties 
such as Foothills Torch Pilsner, Moravian cookies, 
and Krispy Kreme doughnuts. The LCSNA has long 
wished to involve local communities in our meet- 
ings — that hope became a reality in Winston-Salem, 
as several non-LCSNA members were in attendance 
at the various events on Saturday, and we were able to 
include many of the city's cultural institutions in our 
program. 

It all began with a wonderful Maxine Schaefer read- 
ing at the Frank Morgan Elementary School in Clem- 
mons. North Carolina, on Friday morning. Rarely have 
we seen students so keyed up for our visit, so prepared. 
The school entrance, hallways, and media centers were 
full of Afc decorations made by little hands, posters with 
quotations from Lewis Carroll abounded, and there were 
even math puzzles and letters written by A/w;« characters. 



Media Specialist Lisa England and her assistant, Susan 
Jameson — dressed as Tweedles with matching white and 
black striped shirts, red suspenders, and black tights — 
greeted us at the door of the school. Several other teach- 
ers were also in Wonderland costume, as were most of 
the children; Tweedles and Hatters were particularly well 
represented. Patt Griffin gave her usual wonderful per- 
formance, accompanied for the first time by the equally 
multitalented Daniel Rover Singer. Both LCSNA visitors 
and the young participants seemed enthralled. 

Some of us then attended our host Charlie 
Lovett's witty and amusing play Happy Ever After, 
which he wrote and his wife, Janice, directed for the 
third-grade students of the Summit School. His plays, 
of which this is the twentieth, have been performed in 
thousands of schools around the world. Later that af- 
ternoon, we gathered for a cocktail party at the home 
of co-host Stephanie Lovett. Board members then 
went across the street to meet, while Janice and Char- 
lie kindly led the non-Board Carrollians to a commu- 
nal meal at the Jeffrey Adams restaurant. 

The meeting proper began at 9:00 a.m. the 
next day at the renowned pre-K-to-ninth-grade pri- 
vate Summit School, with coffee and local favorite 
Krispy Kreme donuts. (Krispy Kreme was founded in 
Winston-Salem in 1937, four years after the Summit 
School.) Charlie and Janice have been on the faculty 
at Summit for several years, and Stephanie Lovett has 
a long connection to the school as parent and vol- 



1 




unteer. The school facilities resemble those of a well- 
endowed private university more than those of an el- 
ementary school. Michael Ebeling, Head of School, 
graciously welcomed us all, and we then heard briefly 
from Amber Adams, a choreographer and dancer 
hoping to raise funds to finance a physical theatre 
performance based on Wonderland in Wilmington, 
NC. 

A highlight of the morning was the world pre- 
miere, at Summit's Black Box Theatre, of LCSNA 
member Daniel Singer's new play, A Perfect Likeness, 
about an imagined meeting in 1866 between Charles 
Dodgson and Charles Dickens in Dodgson's rooms at 
Christ Church. Dan is already well known as one of 
the founders of the Reduced Shakespeare Company; 
his Complete Works of William Shakespeare (Abridged) has 
played to delighted audiences all around the world. 
The one-act, 90-minute A Perfect Likeness, sponsored 
by the LCSNA and the Lovett Foundation, was excel- 
lently acted by Ben Baker as a fastidious, logical, and 
repressed Dodgson, and Michael Kamtman as the ex- 
pansive, full of life, but burdened Charles Dickens. 
A nice feature, especially for audience members not 
highly familiar with the two Victorian authors, was 
the projection above the set of images from historical 
photographs and other items related to their works. 




The core of the play was yet another attempt to 
understand the conflicted genius of Charles Dodg- 
son/Lewis Carroll. The stiff young Dodgson and 
world-damaged Dickens cross swords (even literally!), 
but each then connects with the other's humanity. 
Eventually Dickens confesses to Dodgson his recent 
sorrow — the loss, due to trauma from the Staplehurst 
train crash, of the child that his lover Ellen Ternan, 
who was accompanying him on the train, was carry- 




ing. Dodgson, after grudgingly letting Dickens hyp- 
notize him, reveals the bitter pain of his disappointed 
love for Alice Liddell. After the extraordinarily amus- 
ing and quite moving play, there was a lively talkback 
with the actors, author, and director John Gulley. 
(The play had several other performances for the citi- 
zens of Winston throughout the week.) 

But there was another morning highlight — an- 
other exploration of Charles Dodgson's psyche — this 
time by Charlie Lovett, who drew in great detail on 
primary sources (many in his own collection) to ex- 
amine the theology of Dodgson's father and its impact 
on the son. Dodgson, Sr., provided religious educa- 
tion to both his own children and others (CoUing- 
wood notes that Rev. Dodgson considered education 
the most sacred portion of a parent's charge), and 
played an active role in religious societies and dioc- 
esan boards. He took a strong interest in the training 
of religious teachers, serving in fact as a Theological 
Examiner at the University of Durham, in the belief 
that their role was the "training of immortal souls for 
eternity." 

Although the elder Charles Dodgson was High 
Church and a friend of the leaders of the Oxford 
Movement, he also recognized the contributions of 
evangelical reformers. Despite his doctrinal conserva- 
tism, he was less dogmatic when educating his chil- 
dren, and held many broad church positions. 




Lefl to right, Ben Baker, 
Daniel Singer, Michael 
Kamtman 




Charlie Lovett 



Still, the younger Charles must have found Sun- 
days, with their long services, cold meals, and forbid- 
den games, tedious, even if occasionally relieved by 
viewing the strange figures (a bare-breasted woman, a 
griffin, a one-legged man, etc.) carved on the Dares- 
bury pulpit. We can find several passages in his adult 
writings stating that children should be allowed to 
play on Sunday and to read nursery books during the 
sermon. For example, see Lady Muriel's thoughts on 
the subject in Sylvie and Bruno. 

Other lessons deeply impressed on the son by the 
father were that: no talent, however small, goes unre- 
garded by God; the word of God is not separate from 
other branches of learning; and we all share a duty to 
help the less fortunate among us. Charlie described 
the 14 two-sided devotional prayer cards with Bibli- 



cal verses that the Dodgson family used for medita- 
tion, and a small, handwritten Dodgson family prayer 
book. There was also a log of Charles's childhood 
reading, which included Pilgrim's Progress (which he 
read at age seven); Bourne Hall Draper's Bibk Illustra- 
tions; The Fairchild Family (1818), a horrible little book 
by Mary Martha Sherwood, professing that children 
are naturally evil, a book against which Dodgson re- 
belled; and cheap Repository Tracts, many of which 
were written by Hannah More, the eighteenth-centu- 
ry evangelical writer and moralist. 

More's complete works were in CLD's library 
at his death, as was Maria Edgeworth's Early Lessons, 
which he also read as a child. Some of Edgeworth's lit- 
erary qualities may have stuck with him when writing 
his own children's books: her frank narrative style, 
child heroes, pastoral setting and tone, and episod- 
ic plots. Edgeworth's "Rivuletta," from Early Lessons, 
with its dream about a fairy, is very close in tone to 
Sylvie and Bruno. 

We were then treated to the most delicious 
school lunch ever — Southern specialties such as to- 
mato pie, shrimp and grits, and peach pie cobbler — 
surrounded by the surrealistic art of LCSNA member 
and afternoon speaker Jett Jackson, including several 
of her paintings and a life-size papier-mache Hatter. 
Wobbly-looking (but quite stable) centeipieces made 
of stacked teapots and teacups were found on every 
table. Cindy Watter passed out special Winston-Salem 
meeting buttons made by her son, Nick, depicting the 
caterpillar and his hookah. 

The afternoon opened across the street at the 
Reynolda House Museum of American Art (once the 
home of tobacco magnate R. J. Reynolds) with a won- 
derful concert of songs mentioned in Lewis Carroll's 
diaries, performed by pianist Peter Kairoff and tenor 
Glenn Siebert, both members of the Carolina Cham- 
ber Symphony Players. Selwyn Goodacre introduced 




Peter Kairoff, pianist, Glenn Siebert,tenor, and Selwyn Goodacre, narrator 




Morna O'Neill 



each piece from notes by Charlie Lovett. We heard, 
inter alia, "Come If You Dare," music by Henry Purcell 
with lyrics by John Dryden from the opera King Ar- 
thur, "Star of the Evening" by James M. Sayles (which 
Carroll parodied in "Beautiful Soup"); "Adelaide" by 
Beethoven with words by F. von Matthison; a humor- 
ous Irish love song, "The Low-Backed Car" by Samuel 
Lover; "Some Folks Do" by Stephen Foster; "Please 
Give Me a Penny," a sentimental song about a street 
urchin; "Dreamland," the music dreamt by Charles 
Edward Hutchinson, with lyrics by Carroll himself; 
"Dirge over Dundee"; "Sleep, Alice, Sleep," the open- 
ing chorus from the Walter Slaughter music for the 
Savile Clarke play; and "Harlequin Waltz" played (by 
Charlie) on an antique "orguinette," quite similar 
to one owned by Carroll himself, which operates by 
cranking a perforated paper roll through it. 

Next up was Dr. Morna O'Neill, an art historian 
at Wake Forest University, who compared Lewis Car- 
roll and Edward Steichen as portrait photographers. 
Dr. O'Neill first sketched out the history of photog- 
raphy since its invention by Fox Talbot in 1839. She 
noted that in its early years, photography was seen as 
a handmaiden to painting, and if it had a gender, it 
would have been feminine. Carroll's photographs of 
Alice Liddell, family members, and friends fit well 
into the domestic sphere. 

Many of Carroll's photographs represent, as was 
common at the time, performances and staged nar- 
ratives. Carroll invites us to participate in the perfor- 
mance and seeks to engage our imaginations. He is 
confident, assertive, and almost defiantly un-self-con- 
scious about photographing the bodies of children. 



He was able to capture the instability of childhood, 
and that is why his photographs still speak to us today. 

In Edward Steichen's photographic portraiture, 
we find the same elements of performance and lack 
of self-consciousness. Both men liked to photograph 
celebrities. O'Neill compared Carroll's photograph 
of Xie Kitchen as Penelope Boothby to Steichen's 
photograph, fifty years later, of Gloria Swanson, and 
found that Xie resembles Gloria much more than she 
does the innocent Penelope. There is a certain insou- 
ciance in both, insouciance on the part of both sub- 
ject and photographer — almost an actress-director 
relationship in both instances. Steichen was the first 
fashion photographer — or was it Carroll? The latter, 
after all, loved to costume his younger subjects and 
to photograph actresses such as Ellen Terry. With the 
images from Dr. O'Neill's scintillating talk still hov- 
ering on our retinae, we went downstairs to view an 
equally scintillating exhibition of Steichen's photos. 

We then returned to Summit School, where we 
heard Mark Richards of the Lewis Carroll Society 
(UK) give an excellent illustrated talk on surrealism 
and Carroll. Mark began by showing some of Salva- 
dor Dali's A/zc^ illustrations (1969), commenting that 
while Dali is both a surrealist and the most famous 
artist to illustrate Carroll, his illustrations are neither 
truly surrealistic nor truly about Alice — they are self- 
referential and far from spontaneous (e.g., Dali was 
fascinated/haunted by L'Angelus by Jean-Franqois Mil- 
let throughout his life, and references to it appear in 
several of his works, including one of his Alice illus- 
trations). Surrealism, according to its founder Andre 
Breton in his 1924 Manifeste du Surrealisme, addresses 
the world by accessing the subconscious primarily 




Mark Richards 




Jett Jackson andfrieyid 



through automatic writing — an idea similar to what 
Carroll, speaking of Wonderland, has told us of his 
writing processes: ideas and dialogue "came of itself." 

The same process, Mark noted, led to Sylvie and 
Bruno (showing that it doesn't always work!). S&fB is 
interesting because it gives access — and here we go 
once again — to Carroll's psyche. Sylvie arid Bruno is 
not a surrealistic book, yet in its preface Carroll de- 
scribes three states of being, one of which, "the eerie 
state," is experienced when one is neither conscious 
nor dreaming, but somewhere in between (just as 
the early surrealists sought inspiration in hypnagogic 
imagery). The eerie state, Carroll said, is perfect for 
seeing and talking to fairies, as book's narrator does. 

Wonderland — ^which begins with Alice half-asleep 
on a warm lazy afternoon — definitely draws on the 
unconscious, while Looking-Glass is totally a construc- 
tion of the conscious brain. Many surrealistic artists 
have been inspired by the first book, but almost none 
by the second (Max Ernst is one of the few). Mark 
showed examples of art by Rene Magritte (three of 
his paintings have titles that directly refer to Alice), 
Max Ernst, Dorothea Tanner, and even the Ernst- 
imitator/parodist Max SpaB, about whom so little is 
known that his very existence is doubted. (An astute 
questioner from the audience noted that Spafi means 
"joke, or play" in German, as Ernst means "serious- 
ness." Hmmm.) 

A second wave of surrealistic artists referencing 
Carroll, Mark said, includes Eileen Agar (e.g., The 
Shell) and Conroy Maddox (e.g.. The Strange Country) . 
Among translators and critics are Frederic Delen- 



glade, Henri Parisot, Louis Aragon, and Raymond 
Queneau. In film, we have Jan Svankmajer and Jona- 
than Miller (but definitely not Tim Burton!), and 
among contemporary CarroUian artists playing with 
surrealism are Anthony Browne (who often refer- 
ences Magritte in a kind of meta-surrealism); the in- 
genious Mahendra Singh; Adriana Peliano, with her 
brilliant collages; and, indeed, our very next speaker, 
the delightful pop-surrealist Jett Jackson. 

Jett Jackson — who as Mark said defies categoriza- 
tion — has been fascinated by fairy tales, and specifi- 
cally by Alice, since she was a little girl. She painted 
her first Alice in art school in California when she was 
nineteen, though she doesn't think much of it today. 
She left Los Angeles for North Carolina a few years 
ago because a wealthy real estate developer asked her 
to live on a houseboat on his lake and paint for him; 
said developer this spring threw a $150,000 Wonder- 
land-themed party. 

Jett summarized her career very succinctly and 
then showed us a sequence of images of her Alice art 
and of the various papier-mache characters (two huge 
Alice heads, the Mad Hatter in jail, 350 pink flamin- 
gos, and many more) which she had constructed for 
the party. All the while, a resplendent multicolored 
beach-ball-sized Cheshire Cat's head — the body had 
of course disappeared — sat on a stool beside her. 
There was time to look at slides of only a small frac- 
tion of the more than 700 brilliant images she has 
created, including her particularly intriguing Picasso- 
inspired cubist Alice, the elastic neck Alice, the "I am 
the wabbit" Alice with Bugs Bunny, and so forth. Jett 




Jett Jackson 's Cheshire Cat 




Mark Goodacre 



was profiled in KL 81:17, and you can see more of her 
work atjett.com. 

We then drove to St. Timothy's Episcopal Church 
for an Evensong Service at which Mark Goodacre, a 
distinguished New Testament scholar on the faculty 
of Duke University and the son of British Carroll- 
ian Selwyn Goodacre, preached a sermon based on 
outline notes Dodgson had left in his diary (June 7, 
1862). The text was St. Paul's Second Letter to the Cor- 
inthians (13.14). Mark dedicated the sermon to the 
memory of Anne Clark Amor, one of the founders of 
the Lewis Carroll Society (UK). The themes, expanded 
by Mark, were the mystery of communion with God, 
life as a journey (with due reference to Pilgrim's Prog- 
ress), and the importance of prayer as a means of real- 
izing that communion. Accompanied by a choir drawn 
from several congregations, Janice Lovett's beautiful 
voice as the Cantor stood out wondrously during the 
service. 

The evening concluded with a barbecue at Charlie 
and Janice Lovett's house, and by "barbecue," surely 
an instance of North Carolinian understatement, the 
Lovetts meant a lavish buffet supper. We took the op- 
portunity then — and again the next morning when 
we returned for brunch and further conversation — to 
view Charlie's incredible collection of Carroll books 
and artifacts, both the 117 items described in the fine 
catalogue, Lewis Carroll & the Writer's World, he pro- 
duced for us on this occasion, and the many other rare 
or unique items Charlie has acquired. The exhibition 
was spectacular, and its goals, as stated on page 1 of 
his catalogue were threefold: to show items we might 
not have seen elsewhere, to exhibit tangential items 



that put the more well-known items in a wider con- 
text, and to show how Dodgson the author "engaged 
with the world around him and how the world re- 
sponded." The items were organized under discrete 
headings including, among others: The Writer Takes 
a Name, The Writer Finds a Muse, The Writer and 
His Sources, The Writer and His Tools, Revisions 
and Corrections, The Writer and His Books, and The 
Writer and the Stage. 

Although some might say his copy of the 1865 Al- 
ice (Exhibit No. 11), resting just about in the middle 
of the pool table in Charlie's study, was the greatest 
gem (discussed in the catalogue with an extensive ac- 
count of its provenance, which names two previously 
unknown owners of this copy!), there were other 
treasures to be seen. Let's start with the name Lewis 
Carroll. Everyone knows the story of how Dodgson 
became Carroll in print, but Charlie showed a copy 
of the fourth monthly installment of Littk Dorrit by 
Charles Dickens, March 1856 (Exhibit No. 1), which 
contains an advertisement for the first three issues of 
The Train. The ad includes the name "Lewis Carroll" 
and may well antedate by a few days the actual ap- 
pearance of the third number of Tlie Train (Exhibit 
No. 2), thus being the true first occurrence in print 
of that famous name. 

In the category "Revisions and Corrections," we 
saw a copy of the first cyclostyled Word Links game 
(Exhibit No. 27), with corrections in Dodgson's hand. 
A copy of Through the Looking-Glass in its Mechanics' 
Institute binding, with the famous separate advertise- 
ment explaining the Mechanics' Institute volumes, 
was shown. Among the many inscribed copies was The 
Hunting of the Snark inscribed to G. G. Woodhouse 
(the subject of Carroll's humorous poem "The Lig- 



-^p«ase»ji!t!j^ 




Byron and Vicki Sewell 



Amidst the Lovett Collection 




niad") signed C. L. Dodgson, which is somewhat rare 
for a book issued under his pen name. 

And of the very numerous items related to the 
theater — playbills, cards, and the like — we might 
mention the circular letter of 1882 "asking advice on 
what plays of Shakespeare ought to be included in an 
edition for young girls." Finally, resting on a ledge to 
the right of the entrance to Charlie's study was Lewis 
Carroll's Hammond Number One Type-Writer (Ex- 
hibit No. 23), to which Charlie devotes eight pages 



of commentary in his catalogue. Each copy of the 
catalogue held at the back a pasted-in 5x2 inch slip 
of paper on which the words "Twas brillig" had been 
typed on that very Hammond machine, which Char- 
lie acquired a few years ago at auction (the underbid- 
der was not a Carrollian but rather a typewriter collec- 
tor — it takes all types). 

The subtitle of The Train was "A First Class Maga- 
zine." The Lovetts deserve huge plaudits for putting 
on a First Class exhibition and a First Class meeting. 




Painting by Jett Jackson 






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"ALICE IN CRANKLAND " 
BY HARRY FURNISS 

WITH AN INTRODUCTION BY CLARE IMHOLTZ 



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It seems that Harry Furniss never got over Alice. 
That is, he never got over the fact that the book he 
illustrated for Lewis Carroll, Syhne and Bruno, did 
not measure up in anyway, shape, or form to the Alice 
books, illustrated by John Tenniel — the ones Furniss 
wished he had illustrated. Furniss was only eleven 
years old when Wonderland first came out, so he re- 
ally shouldn't have felt so bad. Nonetheless, not long 
after he had completed the illustrations for Sylvie and 
Bruno Concluded, which was published in December 
1893, he published "Alice in Crankland," the first of 
several small illustrated works based on or in some 
way referencing the Alice books. 

"Alice in Crankland," is reprinted here for the 
first time. It was originally published in Lika Joko, a 
short-lived Punch imitation that was started by Furniss 
in 1894. "Crankland" appeared on February 16, 1895. 
I came across it in a bound copy of Lika Joko owned 
by that eminent collector of Carrolliana, Dr. Selwyn 
Goodacre. Copies, even bound ones, are extremely 
rare today. 

Given that this little parody (more properly 
"imitation") was published in Carroll's lifetime, one 
would think that Carroll must have been aware of it — 
that someone must have brought it to his attention — but 
there is no record of his having seen or reacted to it. 
(Nor do we know if Carroll was aware of a remarkable 
drawing Furniss did for the Artjournalin 1896, which 
included Alice, Sylvie, and other child heroines.) 

"Alice in Crankland" is somewhat amusing at first, 
and even mildly Carrollian, but the intent behind the 
story as a whole is unclear, and as it continues, the 
story becomes more grumpy than funny, almost di- 



dactic in a way (despite Furniss 's digs at education). 
Crankland is a dreary place, apparently because of a 
restrictive government that outlaws low-cut dresses, 
tasty foods such as meat, bread, tea, dairy, and sugar 
(all of which Furniss himself enjoyed to a great de- 
gree), games that are actually played for fun, and 
comic pantomimes. Perhaps Furniss was upset about 
specific laws or instances of censorship, but the par- 
ticulars are not apparent, at least not to this reader. 
There are several references that readers will quickly 
decipher: Silly-bits equals Tit-Bits, a humor weekly of 
the day; the Gravity Theatre is the Gaiety, of course, 
and so on. Magnall's (actually Mangnall's) Questions 
was a popular and rather moralistic Victorian text- 
book. There may well be some other more recondite 
contemporary references in the cranky text. 

As Selwyn Goodacre has commented, the parody 
is certainly of interest in that it shows Furniss's vision 
of Alice long before he did his actual Wonderland il- 
lustrations for Arthur Mee's Children's Encyclopedia 
(1908-09). Not surprisingly, as we see here, his model 
for Alice from the very beginning was the same as that 
for Sylvie: his daughter Dorothy. 



Harry Furniss in a 
cranky selfportait 




ALICE IN CRANKLAND 





lice had grown veiy sleepy over 
her perusal of SILLY-BITS, and 
was just dozing off in her chair 
when suddenly she noticed that 
one of the sideboard doors looked 
unusually large, and seemed to be 
swelling every moment. Curios- 
ity prompted her to get up and 
peep inside. It was so overgrown 
by this time that Alice stepped 
inside without stooping, and pass- 
ing down a longish passage found herself in a street 
which was quite strange to her. While she was still 
hesitating which way to turn, a very ugly, shrivelled 
litde man, came suddenly round a corner, and nearly 
upset her before she saw 
him coming. 

"Can you tell me 
where I am?" asked Alice, 
when the little man had 
apologised profusely. 

"Is that a riddle?" asked 
the litde man, suspiciously. 
"No, it isn't," said Al- 
ice; "I asked because I 
wanted to know." 

"I'm glad of that," said 
her new acquaintance; 
"because riddles aren't al- 
lowed here: they might 
make people laugh; and 
the fine for laughing is 
forty shillings. But if you're 
quite sure it isn't a riddle 
I don't mind telling you: 
you're in Crankland." 

Alice couldn't remem- 
ber seeing such a place in 
her atlas; but she was too 
polite to say so. 

"And I'm a Faddy," continued the stranger. 
"What's that?" asked Alice. 

"Well, you know Irishmen are called 'Paddies' : 
and a Cranklander is called a 'Faddy' on the same 
principle. Would you like to take a walk round?" 
"Yes, very much please." 

So down the street they went, Alice wondering at 
the melancholy look of the place. There were very few 
shops, and on the hoardings there were no gay post- 
ers — only a few dull advertisements of lectures, and 
one or two notices of the Gravity Theatre. 

Presently they came upon a crowd, including sev- 
eral female police-constables, round a hairdresser's 
shop. The little man listened to what was going on. 







St. George gave a long lecture on Antediluvian Animals 



and then said to Alice, "A most flagrant case! That 
barber has had the effrontery to exhibit a wax model 
of a woman in a low-neck dress. Why it's penal servi- 
tude at least." 

"Why are all the police women?" asked Alice. 
"Well, they're much cheaper, and make better 
spies than men. Besides, you know the proverb: 'A 
miss is as good as a male.'" 

"That doesn't sound quite right," said Alice. 
"Oh, it's perfectly correct, I assure you. I took a 
prize in Proverbial Philosophy at school. Do you know 
this one: 'The Pawnbroker is the uncle of Necessity'?" 
"No," said Alice; "but I know 'Necessity is the 
mother of Invention.' Let me see: what relation would 
the Pawnbroker be to Invention?" 

"Never mind that," said 
her guide; "come and see 
the cricket match." 

They turned out of 
the street and found them- 
selves in a field where some 
wickets had been pitched. 

"They'll begin soon," 
said the littie man, "directly 
the head-master comes." 

"Does he play with the 
boys?" asked Alice. 

"No, but he has to de- 
cide which eleven has to go 
in first." 

"Why don't they toss 
for innings?" 

"Toss? Good gracious! 
The Anti-Gambling League 
has put a stop to all that." 

The head-master ar- 
rived, and the game com- 
menced. 

There was no running 
when the ball was hit, but some strange performance 
took place on the pitch, and then someone called out 
"Two to Biggins!" 

"But they didn't run," objected Alice. 
"Of course not. When the ball is hit, the umpires 
measure the distance it has gone by trigonometry. 
It's quite easy when you know the distance between 
the stumps and measure off the angles. You call one 
wicket X and the other Y." 
"No, I don't" said Alice. 
"I'm speaking generally. You take cos X. . ." 
"Where do you take it to?" 

"I'm afraid your education's been neglected. 
Anyhow, they calculate the distance the ball travels, 
and reduce the answer to runs. 




lo 



"Wouldn't it be easier to use a tape measure?" 

"Perhaps, but not so instructive. And they don't 
allow any games simply as recreation. By the bye, shall 
we go to the pantomime?" 

"Oh, I should love it," said Alice. 

As they walked back through the street, Alice 
asked why there were so few shops. 

"We don't want them in any variety," said the Fad- 
dy. "Everybody is bound by law to be a vegetarian, so 
there are no butchers. Then they've discovered that 
flour is full of bacteria, so we don't eat bread or pastry." 

"How about the grocers!" 

"Don't you know that butter contains disease 
germs, and cheese too? The SCALPEL found that out 
long ago. Tea is intoxicating, and sugar's a sort of al- 
cohol after it's eaten; so we've given up groceries." 

"Then what do you live on?" 

"Nuts mosdy — nuts and raw vegetables. We used 
to have eggs, but there was a case of a child having 
typhoid fever after eating one, so they were stopped, 
and milk too — that was found to be the most poison- 
ous stuff of all. But here we are." 

Alice looked up and read : 

Theatre Royal, Dreary Lane. 
St. George and the Dragon. 

"The most instructive pantomime of the season." 

When they had got inside, the pantomime had 

begun. There were no girls on the stage, and not a 

single comic character; while all the audience looked 



very dull and miserable. In the front row of the stalls 
were a lot of sleepy bats and owls trying to look intel- 
ligent and failing miserably. 

"Who are those funny creatures?" asked Alice. 

"Those," said her friend "are the Vigilance Com- 
mittee of the Cranky Council : they come every night to 
see that there is nothing amusing in the pantomime." 

Alice thought their presence very unnecessary, 
for the show was extremely dull and prosy and sound- 
ed like tracts from Magnall's Questions. But when the 
little man whispered: "Now the Dragon's coming on!" 
she brightened up a bit and hoped things were going 
to be lively. 

Alas ! The dragon was a fraud: it was an exact 
model of an icthyosaurus or some such beast, and St. 
George immediately improved the occasion by giving 
a long lecture on Antediluvian Animals. Alice grew 
sleepy, and then sleepily and gradually slipped down 
in her seat till she fell bump against the floor. And, lo 
and behold! the little man and the theatre had van- 
ished; and there was the dining room fire and Dinah 
purring on the hearth-rug; just as she had left them. 

"Well," said Alice, "all I can say is — I'm very glad I 
don't live in Crankland." 



y, I HOPE mmz le 

MM^t efiia NOT 0^ 4 
PtSAPfWNT'-- / 

HAVe AU?EADV 

THESE TEA 
«54^ 




Pogo by Walt Kelly, Decembei- 22, 1951 



11 



-^^- 



-^ 



-^ 



'^^ 



MARK BURSTEIN 



^ 



Ontology recapitulates epistemology and all 
that, but, in the words of D. P. Gumby, my 
brain hurts. One of the many highlights 
of LEGOland California is Miniland USA, wherein 
salient features of various cities are reproduced in 
miniature in LEGO bricks. The real Las Vegas has a 
hotel-casino called New York-New York, so herein is 
a mini-version of New York residing in a mini-version 
of Las Vegas residing in a mini-version of the world, 
known as a theme park. 

Regrettably, there were no bottles labeled drink 
ME nor mushrooms around to provide ingress to 
these mise-en-abime mise-en-scenes. I only bring this 
up because on my most recent trip there I noticed 
that in mini-New York was a mini-Central Park that 
contains a LEGO version of the Delacorte Alice statue 
(KL 57:5-4)1 

I have found a few Carrollian LEGOlogists: 
Eric Harshbarger (below), whom I met at the 
Gathering for Gardner last year, and Tyler "LEGO- 
haulic" elites, whom I found by googhng, and e- 
interviewed. Rose Owens wrote it up: Tyler grew up 
watching the Disney cartoon and loved its absur- 
dity. It inspired him as he grew older to read the 
books, which sparked the idea of re-creating these 





Who Are You? as asked by LEGOhaulic 

worlds in miniature. When asked where he feels 
his work draws most from, Clites cites both Disney 
and Tenniel, whose versions he combines in whim- 
sical ways that fans of either — or both — can spot. 
Clites has completed four Alice-themed projects: 
the Mad Tea Party, the croquet 
game, the hall with the glass 
table, and the caterpillar. Each 
has an extraordinary attention 
to detail, as well as a palpable 
sense of play and enjoyment. 
On his list for future projects 
is a Cheshire Cat scene, which 
is bound to be as lovely as 
those he has previously made. 
The projects are all made with 
off-the-shelf LEGO pieces and 
parts, though some date back 
many years, culled from his per- 
sonal collection. You can see his 
work above, on the cover, and by 
clicking on the link in our blog. 



The Delacorte Fountain at LEGOland 
12 






-^^^ 



7*? 



The Works of Eric Harshbarger 



ROSE OWENS 



ii^ 



^*«r 



■^0^ 



^ 



Eric Harshbarger is one of those luonderful Alice fans who 
take their fascination with the world created by Carroll and 
interact zvith it in physical, tactile ways. An inventor and 
creative mind, Harshbarger collected Alice-related para- 
phernalia for many years before deciding, in his words, "to 
create some of [his] own Alice-related pieces in the fields [he 
works in]. " What follows is our interview xoith Harshbarg- 
er, going over his interests, his views on the world of Alice, 
and how that ivorld intertwines with the world of puzzles 
and creativity. 

KNIGHT LETTER: Eric, where are you from? What is your 
education and career background'? 

ERIC HARSHBARGER: I have lived most of my 41 
years in Auburn, Alabama. I studied mathemat- 
ics at Auburn University (earning a bachelor's 
and master's degree in the field). During the 
late 90s I lived in California and worked as a 
computer programmer for Sun Microsystems, 
Inc. In 1999, I moved back to my hometown of 
Auburn and shortly thereafter began building 
large sculptures and mosaics out of LEGO bricks 
for a living. This was my main source of income 



kl; 



EH: 



for nearly a decade. While I will still occasionally 
take on a LEGO commission, most of my time 
during the past five or six years has been devot- 
ed to puzzle design and consulting. 

Hoiv or when did you first learn of Lewis Carroll? 
What drew you to his work ? 
Both of the above "careers" have been influ- 
enced, at least tangentially, by Lewis Carroll and 
his Alice works. It was in the late 90's that I first 
got interested in Alice-themed things (after a 
friend of mine showed me a deck of playing 
cards based on the Carrollian characters). Not 
only was I intrigued by Carroll's background 
in mathematics and puzzles (two interests that 
I obviously shared), but I was also amazed by 
how influential the Alice books had proved with 
popular culture. Whether or not people have 
read the books, they have undoubtedly heard 
phrases like "down a rabbit hole," "mad as a hat- 
ter," and "off with his head!" The Caterpillar, the 
Hatter, Tweedledee and Tweedledum, and so 
many other characters are so familiar to nearly 




13 



eveiyone, that the importance of Carroll's works 
cannot be denied. 

I began to casually collect Alice-related 
knickknacks. I do not have a huge collection of 
things, but, at this point, I have amassed a few 
dozen editions of the Alice books, many posters, 
puzzles, magazine covers, and so forth. I do not 
hunt for new items, but if I see something in a 
store that is obviously based upon Carroll's char- 
acters, there's a good chance I'll buy it. 

KL: Your work focuses greatly on puzzles and the building/ 
constructing of objects. What, if any, connections do 
you see between the concept of puzzles and constructing 
worlds and the world of Alice, especially connections 
with the use of LEGOS, a child's toy that you are 
using to build complex and detailed works of art? 

eh: Once I began designing puzzles for a living, the 
Carrollian world lent itself well to interesting 
brain-teasers as well (only fitting, given Carroll's 
penchant for creating puzzles himself). I have 
always been someone who enjoys creating and 
inventing new things. Often that has come to 
fruition in the form of puzzles or toys. While I 
have never thought about it consciously before, 
I suppose a parallel could be drawn between 
my use of "childHke" endeavors (LEGO bricks, 
puzzles) to create things and Carroll's whimsical 
childlike interests, which he drew upon to create 



fantastic worlds through his writing. 

KL: We'd love to know a little about your process. How do 
you start working on a sculpture? Do you design, mock- 
ups to start, or do you dive in head-first, building and 
then adjusting as you go along? 

eh: For 3-dimensional sculptures I generally just 
start building after thinking about it for a long 
time. Rarely do I use any diagrams or such. I will 
just start building from the bottom and move 
upwards. Eveiy few rows of bricks I'll step back 
and make sure things are "on track." 

For 2-dimensional mosaics or murals, I usu- 
ally use some computer software that I wrote, 
which helps me lay out what colors go where 
and helps dither the bright LEGO colors into 
more subtle tones. 

KL: Which pieces of yours do you think exemplify your con- 
nection to the Alice world? 

EH: [My] Alice sculpture, and the White Rabbit 
and Mad Hatter Mosaics. I have hosted an 
Alice-themed puzzle party at my home, which 
included a booklet of Wonderland-themed 
puzzles. I have also developed many other Alice- 
based challenges professionally for puzzle events 
around the country. I would be remiss if I did 
not also point out the Wonderland Dice that I 
have designed and sell. 

Visit zvww.ericharshbarger.org. 




14 









Contemporary Reviews ofSylvie and Bruno^ Continued 



CLARE IMHOLTZ 



-iS^ 



>*^ 



-00^ 



^^ 



Continuing a series begun in KL 62, pre- 
sented here are another ten reviews of Sylvie 
and Bruno from contemporary newspapers 
on both sides of the Atlantic. "Reviews were mixed," 
as always, but in this selection positive responses far 
outweigh negative ones. Comparison with the Alice 
books is an omnipresent feature of the reviews, a con- 
test that S & Bis never going to win, but it comes off 
better here than usual. It is interesting that no one 
ever criticizes Bruno or his pronunciation difficul- 
ties, which today's readers (except for one known to 
me) find impossible to accept. This is a particularly 
amusing and perceptive crop of re- 
views, but if you read only one, I rec- 
ommend the Scots Observer. Only the 
first book is covered here, but more 
reviews of Sylvie and Bruno Concluded 
and The Story of Sylvie and Bruno will 
be coming in a future issue. 



THE MORNING POST, DECEMBER l6, 

1889, P. 3 

Alice was a delightful little girl but 
hardly more pleasing than are the 
hero and heroine of this latest book 
from a writer whose nonsense there is 
far more of than in the serious works ^''~ 

of many contemporary authors. In a 
preface of unusual length, the original of the pres- 
ent story is described. It is the stringing together, in a 
properly connected manner, of all sorts of happy ideas 
that have occurred to Mr. Carroll's mind at odd times 
and seasons, and he lets his readers into the secrets 
of his manner of "litterary" (as he purposely spells it) 
composition to an extent rare among his fellows of 
the pen. To tell all of the wonderful adventures ofSyl- 
vie and Bruno, and of the remarkable characters they 
met with, among whom the Gardener, the Beetle, and 
the Professor may be mentioned as attractive person- 
alities, would be impossible. They must be encoun- 
tered in the book to be properly appreciated; but this 
much may be said, that surely no children and few 
grown-up people who begin this charmingly-written 
and admirably-illustrated tale will close it without re- 
gret. The pictures are among the best things of the 
kind that Mr. Furniss has accomplished. 




SCOTS OBSERVER, DECEMBER 21, l88g, VOL. 3, P. 1 17 
"A Winter's Tale. " 

'I can quite imagine,' said Sylvie, 'a really superior 
kidney potato declining to argue with any one under 
fifteen stone.' Something ought to have come of the 
remark but nothing did, for Bruno and Sylvie were 
just then going through the Ivory Door, and the Ivory 
Door was the end of the Professor. Or rather it was the 
last of him, for how could a Professor, even a Profes- 
sor contrived by Lewis Carroll, end in an Ivory Door? 
If the Professor ever lived in whom such a termina- 
tion might be looked for, it was this Professor, and no 
other. He was the wisest yet the most 
unaccountable of men. It was a say- 
ing of his — and it smacks of the very 
essence of human experience — that 
'you can't even drink a bottle of wine 
vrithout opening it first,' and the 
consequence was that he kept his ap- 
pointments and knew when to think 
of his meals with the assistance of an 
Outlandish Watch. This was a square 
contrivance in gold and with six or 
eight hands, but its great peculiar- 
ity was that 'instead of its going with 
the time, the time went with it,' so 
that when you moved the hands you 
changed the time, and when you did 
not it went its own way, and time had no effect upon 
it. Of course you couldn't get ahead of the real time, 
for that is impossible; but you could move the hands 
backwards until you were a month — that was the 
limit — behind everything; and then, as the Professor 
explained, you had 'the events all over again — with 
any alterations experience may suggest.' He was the 
best of men, but it is a fact that he never thought of 
taking a watch of this pattern to Hawarden,* though 
it would there have been more useful, perhaps, than 
anywhere in the Empire. This, however, is by the way, 
and only serves to introduce the subject of horizon- 
tal weather, a variety in which the Professor was vasdy 
interested. He had, indeed, invented a pair of boots 
the tops of which were umbrellas, and such was his 
valour of soul that while fully prepared to admit that 
in ordinary rain they would be useless, he was wont 



15 



to insist that if it rained horizontally they would be 
'simply invaluable.' Also he had invented a portable 
plunge-bath; for it was a maxim of his that 'people 
never enjoy Abstract Science when they're ravenous 
with hunger.' He further held that sobriety is only 
good when practised in moderation: the reason being 
that when a man's drunk, which is one extreme, he 
sees one thing as two, but when he is extremely so- 
ber (that being the other extreme) he sees two things 
as one. Now 'It's equally inconvenient,' he argued, 
'whichever happens'; and there is no doubt that he 
was right. 

But that is not all. This powerful thinker knew a 
Gardener who always stood on one leg, watered his 
flowers out of an empty watering-pot — ('It's lighter to 
hold,' he once explained; 'a lot of water makes one's 
arms ache') — and sang such songs as this: 

'He thought he saw a Ratdesnake 

That questioned him in Greek: 
He looked again and saw it was 

The Middle of Next Week: 
"The one thing I regret," he said, 

"Is that it cannot speak."' 

What was even worse, he had lived the songs 
he sang, so that it might have been supposed that it 
was not easy to get on with him. This, however, was 
by no means the case. On the contrary, the way to 
Fairy Land lay through his garden, and once when 
he opened the door for the Professor and Sylvie and 
Bruno for two shillings, the Professor swindled him 
out of the two shillings, but explained to him that in 
opening the door he had acted by Rule, and that now 
it was open he and his two charges were going out by 
Rule — the Rule of Three. To most intelligences this 
would have been a poser. To the Gardener it was only 
an occasion for bursting into song. 'He thought he 
saw a garden-door that opened with a key: he looked 
again and found it was a Double Rule of Three:' 'And 
all its mystery,' he said, 'is clear as day to me.' Surely 
an incomparable person, this Gardener? Surely a near 
relation of the Mad Hatter — him of the Tea-Party? 
Surely a blessed refreshment to all them that love to 
laugh, whether old or young, whether 'really superior 
kidney potatoes' or the merely commonplace who still 
have faith in the philosophic mind of the Member for 
Newcastle*? The answer is not doubtful. It is enough 
to say that he is Lev«s Carroll's, that he has sat (always 
on one leg!) for his portrait to Mr. Harry Furniss; and 
that he and the Professor may be found — and with 
them a wonderful Vice-Warden, a delightful Dogland, 
an incredible Other Professor, and (in 'Bruno's 
Revenge') perhaps the sweetest and most charming 
thing the poet of Alice in Wonderland has done — in 
Sylvie and Bruno (London: Macmillan), the Christmas 
book that makes this 1889 a sort of event among the 
years. It is not of such sustained and equal daftness as 



the Wonderland and Through the Looking Glass; but it is 
daft enough, and Mr. Furniss has come near to make 
us falter in our allegiance to Mr. Tenniel. 

* Hawarden was and is well known as the home base of British 
statesman and prime minister William Ewart Gladstone. 
This comment may hint at his repeated tenures as prime 
minister and perhaps also at his amazing capacity for work 
and production. The Members of Parliament in Newcasde 
[upon Tyne] in 1889 were John Morley and James Craig. 
The former was known for his writings on intellectual life. 

NEW YORK HERALD, JANUARY 5, 189O 

This lengthy appreciation of S&'B — which occupied more 
than one-half of a page (back when a page of newsprint was 
huge) — republishes thirteen of Harry Furniss 's illustrations 
as well as sizable chunks of the text. Even the title is long: 
"Nonsense Yarns in Prose and Verse / The Author of Alice 
in Wonderland ' is at It Again. / The Land ofDoggee / Three 
Badgers and Their Prey — A Financial Fable and Moral. / 
Hints to the Impecunious. " 

If there was a meaning to be looked for under Mr. 
Lewis Carroll's fancies one might be found in the fol- 
lowing: — 

At last he addressed Bruno. "I hope you had a 
good night, my child?" 

Bruno looked puzzled. "I's had the same 
night oo've had," he replied. "There's only 
been one night since yesterday!" 

Children are puzzled by the fuss grown people 
make about their health. Many a person will 
remember the surprise with which, when as a child 
he was taken to walk by his father, he heard his elders 
devoting such a lot of time to talking about their 
health. "How have you been?" "Has Mrs. So-and-So's 
health been good?" Of course, their health was good. 
Why not? 

But we imagine that meanings need not be 
looked for under Mr. Carroll's fancies — they are 
fancies only. His new book, "Sylvie and Bruno," which 
will be published by Macmillan & Co., and extracts 
from which we lay before the readers of the Herald 
to-day, is, notwithstanding its author's expressed 
opinion to the contrary, very much in the same vein 
as "Alice in Wonderland." It is all "such stuff as dreams 
are made of." There is a kind of love story of grown up 
people running through it. Mr. Carroll describes the 
history of these people, who are supposed to be real. 
But every now and then he goes to sleep, either in a 
railway train or in church, or wherever he happens to 
be — for he appears to be a sleepy headed person — 
and then he goes to fairyland with "Sylvie and Bruno." 

Sylvie and Bruno are the children of the Warden 
of Outiand, who is a kind of king in that queer country. 
The children therefore are little Royal Highnesses. 
Sylvie is some years older than her brother. The story 
opens at the palace of the Warden of Outiand. One 
of the children's friends is the Professor, who is a very 



16 



learned and clever man and wears umbrellas about his 
legs in order to be ready for what he calls "horizontal 
weather." [Illustration of the Professor] 

The Warden of Oudand is made King of Elfland. 
Sylvie and Bruno thus have a chance to go to Elfland. 
After the King has gone, the Sub-Warden and his 
wife, who are horrid people, conspire to capture 
the government and take away the succession from 
Sylvie and Bruno and give it to their son Uggug, a 
little monster who is as bad and ugly as Sylvie and 
Bnmo are good and pretty. Uggug throws water on 
a poor old beggar. This beggar was really the King of 
Elfland who had returned. In this picture the reader 
sees with pleasure how Uggug is served by the Lord 
Chancellor of Oxford. [Illustration, captioned: "The 
Grand Bouncer."] 

On another occasion, Uggug's own father, the Sub- 
Warden, belabors him with an umbrella. [Illustration, 
captioned: "Family Discipline."] 

Mr. Harry Furniss' pictures are admirable. Here 
is a representation of a familiar Cockney character, 
the omnibus hog, who sits all over everybody, smokes 
in their faces and treads on their toes. Men without 
ladies in London frequently ride on the top of an 
omnibus or "knifeboard," as it is called, where it is 
permitted to smoke. 'Arry, in this case, has evidently 
trod on the little man who takes the fares. [The stanza 
"He thought he saw a Banker's Clerk" is reprinted, 
under its Furniss illustration, which is captioned "The 
Omnibus Fiend."] 

Undoubtedly Mr. Carroll's best things are his 
nonsense verses — at least that has been the public 
verdict. [The stanza "He thought he saw a Buffalo" 
is reprinted, under its Furniss illustration, which is 
captioned "A Relative by Marriage."] 

The visit of Bruno and Sylvie to Dogland is a pretty 
chapter. They were met at the door of the palace by 
a mastiff sentinel who asked them in doggee — or 
dog language — "What dog do you belong to." [An 
abridged but substantial part of the Dogland episode 



^^\i^^ 







is printed here, along with an illustration.] So much 
for Dogland. 

It scarcely needs the verses printed below to 
describe the history of "The Three Badgers." [Five 
stanzas of "The Three Badgers" are printed, along 
with an illustration.] 

The following rhymed entry of "Peter and Paul" 
has a financial motive. We should hardly have thought 
the debt would stand in equity: — [The entire poem 
"Peter and Paul" is reprinted, with five illustrations.] 

We believe that Mr. Carroll is, in his own person 
and under another name, a learned Don of one of 
the English universities. He is a mathematician and 
a metaphysician. Besides more serious labors he 
has written works upon these subjects for the use of 
children. He has published one little book in which 
mathematical problems are perhaps made as amusing 
as it is possible to make them, and he has written a 
book of the same kind on logic. In the preface to 
"Sylvie and Bruno" he promises and suggests certain 
juvenile works for the future. Among them are a 
child's Bible, a book of selections from the Bible, and 
a Shakespeare for girls from ten to seventeen years, 
from which objectionable passages shall have been 
omitted. 

A peculiarity of "Sylvie and Bruno" is that it 
contains a great deal of religious teaching. The 
author is greatly impressed with the rapid flight of 
time and the shortness of life, and would say some 
word of serious import to his youthful audience. 
These sweet verses are in this vein: — [Reprints "Is all 
our life, then, but a dream."] 

We have said that Mr. Carroll's fancies are "such 
stuff as dreams are made of," that they are such things 
has might have been dreamed. But Mr. Carroll tells us 
that some of them have actually been dreamed. He 
dreamed the words: — "It often runs in families just 
as a love for pastry does." In discussing the question 
of the originality of "Alice in Wonderland," he tells 
us that he was, in preparing that work, at any rate, 
no conscious imitator, but that since it came out 
something like a dozen story books have appeared 
on the same plan. In his new work he therefore 
determined to strike out a new path, and he evidently 
thinks he has done so in "Sylvie and Bruno." The 
reader will look with some interest for the substantial 
points of difference of "Sylvie and Bruno" to "Alice in 
Wonderland." We cannot say that we have discovered 
them. The explanation is, we imagine, that an author 
does not see himself; the reader, on the other hand, 
who has become familiar with Mr. Carroll in his other 
works, will recognize him in "Sylvie and Bruno." Mr. 
Carroll is perhaps one of those who do not quite 
understand "Alice in Wonderland." 



17 



THE GUARDIAN, JANUARY 22, 1890, P. 137 

It is probably too much to expect that either Lewis 
Carroll or any one else will ever produce another 
"Alice in Wonderland," but certainly the admirers of 
"Alice" ought to derive much satisfaction from Sylvie 
and Bruno. It contains many passages of quite unique 
cleverness, and abounds in the quaint turns, misun- 
derstandings, and twistings of language in which the 
author delights. It is very long, and consists in real- 
ity of three perfecdy separate parts — the Dream, in 
which all the characters are perfectly delicious, and 
the Warden, the Sub-Warden, my Lady, the Professor, 
the Gardener, and the Other Professor, together with 
the children, Sylvie and Bruno, play their parts to 
perfection; the story, in which several commonplace 
characters appear, one or two of whom are apparent- 
ly intended to be to a certain extent counterparts of 
those in the dream; and lastly, the various reflections, 
the "graver thoughts," which the author, in his Pref- 
ace, refuses to apologise for, except to those who have 
"learned the art of keeping such thoughts wholly at a 
distance in hours of mirth and careless ease." These 
three parts have very little connection with one an- 
other, and might, with but littie alteration, be made- 
quite independent. With regard to the third, certainly 
the change from gay thoughts to grave, from perfect- 
ly rollicking nonsense to the deepest speculations on 
life and religion is quite as sudden and abrupt as the 
transition from the story to the Dream, and vice versa. 
But the criticism we would venture to make is not that 
it is wrong so to introduce grave thoughts, but that 
the thoughts themselves are not of the right descri|> 
tion. If the book is intended for children, the subjects 
of Necessity and Free-will, of Sabbatarianism, and the 
method of conducting the services of the Church are 
hardly in place (although we sympathise with the at- 
tack on the literature of hymns, and especially with 
the criticism on the particular hymn the author men- 
tions), and the chances are that they will be skipped. 
Indeed, we cannot help feeling that had the 
book consisted only of the Dream, with just enough 
story to make it apparent that it is a dream, the result 
would have been better; the attempt to interweave a 
consecutive story increases the length without adding 
to the amusement. It is only right to add, however, that 
the interweaving is done with admirable cleverness, 
and that nothing can exceed the humour of some 
of the transitions. The Dream itself is excellent 
throughout; over and over again do we chuckle 
with delight at the sayings and doings of the strange 
inconsecutive beings who people it : — 

" T shall come' (to the fancy ball) 'as a grass- 
hopper,' my Lady calmly proceeded. 'What 
shall you come as. Professor?' " "The Profes- 
sor smiled feebly, '/shall come as — as early as 
I can, my Lady.' " 



Or:— 

" 'But you must explain to me, please,' the 
Professor said, with an anxious look, 'which is 
the lion, and whichis the gardener. It's most im- 
portant not to get two such animals confused 
together, and one's very liable to do it in their 
case — both having mouths, you know.' " 

The unexpectedness and yet appositeness of the 
reason for the confusion is delightful. The description 
of the races of men ever diminishing in size and 
consequently ever increasing in power of admiring 
the grandeur of scenery, because "the grandeur of a 
mountain to me depends on its size relative to me. 
Double the height of the mountain, and of course it's 
twice as grand. Halve my height, and you produce the 
same effect," is good, as is also the quotation which 
follows immediately: "Happy, happy, happy small! 
None but the short, none but the short, none but the 
short, enjoy the tall." Excellent, too, is the account of 
the active tourist's portable bath, and the way to use 
it, and also of the directions written up outside the 
door in the Palace of Dogs, "Scratch and yell." The 
following conversation is quite worthy of Alice : — 

"'The action of the nerves,' the other Profes- 
sor began eagerly, 'is curiously slow in some 
people. I had a friend once that if you burnt 
him with a red-hot poker, it would take years 
and years before he felt it.' 

"'And if you only pinched him?' queried 
Sylvie. 

"'Then it would take ever so much longer, 
of course. In fact, I doubt if the man himself 
would over feel it at all. His grandchildren 
might.' 

"'I wouldn't like to be the grandchild of a 
pinched grandfather; would you, Mister Sir?' 
Bruno whispered. 'It might come just when 
you wanted to be happy.'" 

The song sung by that weird being, the mad 
gardener, is admirably funny. We have only room for 
two verses: — 

"He thought he saw a Banker's Clerk 

Descending from the bus; 
He looked again, and found it was 

A Hippopotamus; 
'If this should stay to dine,' he said, 

'There won't be much for us.' 

He thought he saw an Albatross 

That fluttered round the lamp; 
He looked again, and found it was 

A Penny — Postage — Stamp. 
'You'd best be getting home,' he said, 

'The nights are very damp.' " 



18 



"'Would it be afraid of catching cold?' said Bruno. 

"'If it got x/ery damp,' Sylvie suggested, 'it 
might stick to something, you know.' 

"'And that somefin would have to go 
by post, whatever it was!' Bruno eagerly ex- 
claimed. 'Suppose it was a cow! Wouldn't it be 
dreadful for the other things!' " 

The poem of the Herrings and the Badgers, too, 
is admirable, with its extremely funny pictures, and so 
is the short verse about the pig who could not jump. 
But best of all as pure nonsense is Bruno's story at the 
end of the book. We quote part of it : — 

"'Once there were a mouse and a crocodile 
and a man and a goat and a lion.' I had never 
heard the ' dramatis personae' tumbled into a 
story with such profusion and in such reck- 
less haste, and it fairly took my breath away. 
'And the mouse found a shoe, and it thought 
it were a mouse-trap. So it got right in, and it 
stayed in ever so long.' 

"'Why did it stay in?' said Sylvie. 

"'Cause it thought it couldn't get out 
again,' Bruno explained. 

'It were a clever mouse. It knew it couldn't 
get out of traps!' 

"'But why did it go in at all?' said Sylvie. 

"' — and itjamp, and itjamp,' Bruno pro- 
ceeded, ignoring this question, 'and at last it 
got right out again. And it looked at the mark 
in the shoe. And the man's name were in it. So 
it knew it wasn't its own shoe.' 

"'Had it thought it was?' said Sylvie. 

"'Why, didn't I tell oo it thought it were 
a mousetrap}' the indignant orator replied. 
'Please, Mister Sir, will oo make Sylvie attend. 
So the mouse gave the man his shoe. And the 
man were really glad, 'cause he hadn't got 
but one shoe, and he were hopping to get an- 
other.' 

"Here I ventured on a question. 'Do you 
mean "hopping" or "hoping"?' 

"'Bofe,' said Bruno. 'And the man took 
the goat out of the sack.' ('We haven't heard 
of the sack before,' I said. 'Nor you won't hear 
of it again,' said Bruno.) 'And he said to the 
goat, "Oo will walk about here till I comes 
back." And he went and he tumbled into a 
deep hole. And the goat walked round and 
round. And it walked under the tree. And it 
wug its tail. And it looked up in the tree. And 
it sang a sad little song. Oo never heard such 
a sad little song. And when it had singed all 
the song it ran away — for to get along to look 
for the man, oo know. And the crocodile got 
along after it — for to bite it, oo know. And the 
mouse got along after the crocodile.' " 'Wasn't 



the crocodile running?' Sylvie inquired. She 
appealed to me. 'Crocodiles do run, don't 
they?' " 

I suggested 'crawling' as the proper word. 
'He wasn't running,' said Bruno, 'and he 
wasn't crawling. He went struggling along like 
a portmanteau. And he held his chin ever so 
high in the air.' " 'What did he do thatior?' 
said Sylvie. 'Cause he hadn't got a toofache!' 
said Bruno. 'Can't oo make out nuffinv/iih- 
out I 'splain it? Why, if he'd had a toofache, 
a course he'd have held his head down — like 
this — and he'd have put a lot of warm blankets 
round it!' " 'If he'd had any blankets, 'Sylvie ar- 
gued. 'Course he /la^ blankets,' retorted her 
brother. 'Doos oo think crocodiles goes walks 
wizout blankets? And he frowned with his eye- 
brows. And the goat was welly frightened at his 
eyebrows!' " 'I'd never be afraid of eyebrows]' 
exclaimed Sylvie. " 'I should think oo luould, 
though, if they'd got a crocodile fastened to 
them, like these had! And so the man jamp, 
and he jamp, and at last he got right out of 
the hole.' " 

But for the rest of the story, what the mouse did 
with the crocodile, and how he wrenched out the 
tooth the crocodile was going to bite the goat with, 
and whom the lion ate, we must refer our readers to 
the book itself. It may be that none of the characters, 
except, perhaps, the mad gardener, will ever become 
such a household word as have the Duchess, the 
Hatter, the Mock Turde, or the White Knight, but 
certainly their sayings will be read over and over again 
by those who love pure, excellent nonsense. Of the 
pictures we can only say, as the author himself does, 
that they are "wonderful." All are so admirable that it 
is difficult to praise any particular one, but, besides 
the Herrings which we have mentioned, the drawings 
of the mad gardener, the hippopotamus, and Sylvie 
and Bruno among the dogs, may be mentioned as 
among the best. 

PITTSBURG DISPATCH (PITTSBURGH, PA), FEBRUARY 3, 
1890, P. 4 

"The Other Professor's Queer Way of Reading" 

The Other Professor, in the new book by the author 

of "Alice In Wonderland," had a queer way of reading. 

"The Other Professor was seated at a table, 
with a large book open before him, on which 
his forehead was resting; he had clasped his 
arms round the book, and was snoring heav- 
ily. 'He usually reads like that,' the Professor 
remarked, 'when the book's very interesting.'" 

Even the Other Professor would find it 
hard to read Sylvie and Bruno after that fashion. 
Lewis Carroll may have written it in his sleep — in- 



19 



deed, he confesses in the preface that he dreamed 
some of it — but nobody can go to sleep reading it. 
"Sylvie and Bruno" is not equal, of course, to "Alice 
in Wonderland." That would be quite too much to 
ask. The middle-aged individual who reads books 
on "Diseases of the Heart" in railway trains, and 
divides his attention between lovers and fairies, is not 
half so delightful a guide into elfland as Alice was; still, 
the fun and the wisdom, the rhymes and the sermons, 
the real folk and the fairies, are just as charmingly 
blended; there is the same succession of dissolving 
views, and it is just as evident as ever that Lewis Car- 
roll has found that magic vial which Alice drank of, 
and which brought her head down to a level with the 
litde people by her feet. Mr. Carroll seems to think, 
for some reason, that he has started out in quite a 
new path. We could wish for nothing better than that 
he should take us for still another walk along that 
pleasantest road on which we started with Alice in our 
company. And that in fact is what he has really done. 
There is no new path about it. The game of cards and 
the game of chess have changed into a pretty love- 
story, and there may be a little more preaching in this 
book than in the other — a little more of that sobriety 
which the author says is "a very good thing if prac- 
ticed in moderation" but otherwise this is simply "part 
three" of the same delightful story: 

"He thought he saw a rattiesnake 

That questioned him in Greek; 
He looked again and found it was 

The Middle of Next Week. 
'The only [sic] thing I regret' he said, 

'Is that it cannot speak.'" 

Who could read that without thinking of 
Alice, and the Jabberwock, and all the rest of 
that charming company? We get straight into 
the midst of that land of strange and learned 
animals, where our guide assures us that he is very 
wise in natural history, being always able to tell kittens 
from chickens at one glance. 

As Mr. Carroll says of his book in the preface: 
"It is written, not for money and not for fame, but in 
the hope of supplying for the children, whom I love, 
some thoughts that may suit those hours of innocent 
merriment, which are the very life of childhood, and 
also in the hope of suggesting to them and to others 
some thoughts that would prove, I would fain hope, 
not wholly out of harmony with the graver cadences 
of Life." 

NEW YORK HERALD, FEBRUARY 9, 1 89O 

The appearance of a new book by the author of "Al- 
ice in Wonderland" is always an important event in 
the lives of persons who enjoy fun and nonsense well 
put. "Sylvie and Bruno," from which the Herald gave 
dozens of extracts in advance of the publication of the 
book, is quite as funny throughout as were the frag- 



ments quoted, and the pictures are in keeping with the 
text. The author admits that many of his numerous sto- 
ries are merely dreams which he has recalled, but he is 
lucky enough, apparendy, to remember only his best 
dreams. The illustrations, of which also the herald 
gave some samples, are quite as funny as the stories. 

THE SPRINGFIELD REPUBLICAN, FEBRUARY 9, 189O 

It is with a feeling of deep regret that one lays down 
Lewis Carroll's latest children's story, "Sylvie and Bru- 
no," which Macmillan publishes, not because the vol- 
ume is read and the pleasure past, but because there 
has been little or no pleasure in it. This is hard to say. 
No more charming books than "Alice's Adventures in 
Wonderland," "Through the Looking-Glass and What 
Alice Found There" and "The Hunting of the Snark," 
were ever devised for the enjoyment of children both 
young and old. The delicious absurdities of "The 
Snark," particularly, are nonsense of the best sort. 
Unfortunately it is not so with "Sylvie and Bruno;" the 
humor is forced, the situations as a general thing dis- 
tinctly not amusing, and the whole thing so confused 
and — it must be said — flat, that the result is most de- 
plorable. There are to be sure now and then gleams 
of the old wit, as in the ballad of "Peter and Paul" and 
the wild strains of the gardener, and the illustrations 
by Harry Furniss are in the main delightfully comic, 
but this does not redeem the book, and its perusal 
can only lead to disappointment. 

THE SPRINGFIELD REPUBLICAN MAY 24, 1890, P. 8 — 

An alternative review 

The Republican has already reviewed "Lewis Car- 
roll's" last book, "Sylvie and Bruno," but a young cor- 
respondent desires to eulogize Mr. Dodgson's failure, 
and accordingly we publish the following: The suc- 
cessor to "Alice in Wonderland" comes vouched for 
by an introduction and an index. Their presence sug- 
gests that the days of our youth are over, since even 
Lewis Carroll sets up a literaiy theory and conforms 
to the usage of science. The preface disarms criticism 
by frankly confessing the author's effort to write some- 
thing original and only half concealing the suspicion 
that he has not succeeded. The public will hold him 
guilty of self-plagiary. Sylvie and Bruno could have 
been produced nowhere but in the Wonderland that 
entertained Alice. Yet there is a difference. We miss 
the abandon and intellectual riot of the earlier story. 
No small part of its charm lay in the fact that its deli- 
cious nonsense never took on the airs of its betters 
while doing their work. Somehow one found one's 
self in possession of an idea whose oudine was flashed 
in as a whole without tiresome processes or burden- 
some parts. It was delightful to take liberties with the 
laws of causality, of contradiction and of identity by 
proxy, and to find one's self the richer in the end by 
a number of subtle suggestions. Philosophy gathering 



20 



in our mind with all the beautiful and airy simplicity 
of the film on a soap-bubble. 

There is a definite construction in "Sylvie and 
Bruno." We are never quit of the world of conscience, 
of pathos and of sentiment. Fairyland has a reason for 
being in supplying the long-felt need of vacation for 
outlandish imagination and overworked virtue. Nor 
is it so satisfactory to find our toy things following 
the familiar outline of real life. Afternoon teas and 
sports and popular elections cannot be muffled so 
that their tread will not wake the most confirmed of 
dreamers. Even as we try to rub our eyes asleep we 
must acknowledge that the saddest of all deceits is the 
one where we have to play that we play. 

But growing old has its compensations. There 
is a point in some of the suggestions that makes up 
their directness and seriousness. For instance, when 
Sylvie and Bruno visit Dogland, it would be harder for 
the reader to miss the allegory than to find the three 
consecutive lines of padding in the passage from the 
top of page 35 to the middle of page 38, but we accept 
the burdens of intellectual maturity with resignation 
where it is rewarded with such entertainment as this: 
"His majesty calmly wagged the royal tail, 'It's quite a 
relief,' he said, 'getting away from that palace now 
and then! Royal dogs have a dull life of it, I can tell 
you! Would you mind' (this to Sylvie in a low voice and 
looking a litde shy and embarrassed) 'would you mind 
the trouble of just throwing that stick for me to fetch?' " 

But Fairy and Outland are not enough for Sylvie 
and Bruno. As actual children of appropriate sizes 
they appear in the part of England where the author, 
the earl, Arthur and Lady Muriel dream, study, love 
and picnic. Of course they strike people as not like 
other children and queer things happen when they 
are present. Bouquets of Indian flowers are not 
usually carried about even by the best intentioned of 
children and middle-aged gentlemen of moral mold. 
No representation of the grown-up world can be 
expected to stand such a comparison well. But it may 
be questioned whether the picture is not too close to 
nature for art. The matter as well as the method of 
much of the conversation must have been taken from 
life, and rouses effectually those messengers that 
deliver only in Boredom. Who does not recognize the 
modest incapacity of the remarks made by the would- 
be-learned girl? Her memory of Herbert Spencer and 
logic is pieced out in a fashion that has many a time 
asserted itself over the tinkle of tea-spoons and the 
ring of fine china. The chivalrous Arthur finds her 
an infliction, and not even the ethics of Fairyland 
interposes with relief or tears for her fate as she 
flounders in her wordy bog. 

Of the nervous and energetic English in which 
the story is told it is needless to speak. It is a separate 



source of pleasure to follow the incisive narration. 
The method of this new story makes in the main 
only outward concessions to the conventional literary 
methods. It begins not only in media res, but in the 
middle of a sentence with a dash; the author seems 
to talk as well asleep as awake, and the reader must 
pass from the happenings of one world to those of the 
other with no less sympathetic comment than a yawn. 
Any effort, for instance, to understand as he goes 
along will serve as a hopeless bar to his real progress. 
The event always shows, and mean time, — a fig for 
philosophy! 

THE CHURCHMAN (U.S.) MARCH 1, 189O, 
VOL. 61, P. 239 

In the wonderful art of depicting dream changes, in 
that of writing nonsense which has a meaning and rel- 
evance, and in that of entering into children's moods 
and fancies, Mr. Lewis Carroll is without a rival. "Syl- 
vie and Bruno" is somewhat removed from the pure 
fun and oddity of the "Alice in Wonderland" stories, 
because there runs through it a very slender thread 
of seriousness which reminds one of the exquisite 
litde episodes of Leonard and Margaret in Southey's 
extravaganza of the Doctor.* But there are the same 
odd changes and bewildering inconsequences as of 
old. The bits of verse, like the Gardener's song, and 
the ballad of Peter and Paul are as good as those 
verses which all well-regulated children and a good 
many grown people can repeat without book: "Jab- 
berwocky" and the "Walrus and the Carpenter." If we 
were to name the English book of the last half cen- 
tury most widely quoted and alluded to, we should 
say "Alice in Wonderland" without hesitation. "Sylvie 
and Bruno" will hardly attain to the same honor, but 
everybody who knows what is charming in literature 
will be sure to read it, and will join with us, we think, 
in saying that it is charming. 

The Doctor is a multivolume miscellany of stories and 
poems by Robert Soiithey, including "The Love 81017" 
about Leonard and Margaret. 

THE SACRAMENTO DAILY UNION, JANUARY 24, 189I, 
VOL. 80, NO. 133 

"Sylvie and Bruno," by Lewis Carroll, is a grotesque 
fairy tale, with illustrations by Harry Furniss. The vol- 
ume, a handsome octavo, is a marvelously entrancing 
fairy tale, but with some of the gravities of real life, 
introduced in a manner to impress upon youthful 
readers wholesome lessons. It is a satire, a caricature, 
a scathing criticism on public follies and ills, a delight- 
ful, absurd and entrancing fairy story — in short, the 
strangest book we have taken up in many a day. To 
attempt to outline it is simply impossible. 



81 



^ 



-^^ 



-^ 




Alice and the Roosevelts: 
Eleanor and Franklin in Wonderland 

AUGUST A. IMHOLTZ, JR. 




-i^ 



>*v 



■^0e- 




''wo months before her husband, Franklin 
Delano Roosevelt, was nominated by the 
Democratic Party as its candidate in the 
U.S. presidential election of 1932, Eleanor Roosevelt 
wrote an introduction to National Home Library 
Foundation's Jacket Library' edition of Alice in Won- 
derland. That litde book- is familiar to some collectors, 
but Eleanor's other essay on Alice in that year and her 
husband's invocation of Alice in Wonderland in one of 
his crucial political speeches are probably not as well 
known as the Jacket Library introduction — and that, I 
hope, justifies their reprinting in this note. 

Anna Eleanor Roosevelt was born on October 11, 
1884, in New York, the daughter of Elliott Roosevelt 
and Anna Hall Roosevelt, and was the niece of 
President Theodore Roosevelt. From an early age she 
usually preferred to be called by her middle name, and 
that is how she is mosdy remembered today. In 1905 
she married her fifth cousin once removed, Franklin 
Delano Roosevelt, when he was 23 years old. From 
1913 to 1920, Franklin Roosevelt ser\'ed as Assistant 
Secretary of the Navy. He ran for vice president on the 
unsuccessful and now all but forgotten Democratic 
ticket of Cox and Roosevelt in 1920 and then, after 
practicing law in New York City for a number of years, 
was elected governor of the state of New York in 1929. 
During those early years of her husband's political 
life, Eleanor herself was extremely active in political 
affairs and had already published 39 articles on 
politics, women's affairs, family life, labor, and many 
other social issues. In November of 1932, during the 
height of the Great Depression, Roosevelt was elected 
president of the United States. Earlier in that year, 
however, Eleanor and Franklin, in their respective 
ways, wrote about and alluded to Alice. 

First, Mrs. Roosevelt contributed an introduction 
to thejacket Library edition of Alice in Wonderland. The 
Jacket Library edition was "affectionately dedicated 
to Alice Liddell Hargreaves, who, as the original 
Alice, inspired this immortal tale." Almost certainly 
it was published to coincide with Alice Hargreaves 's 
1932 visit to New York. Here is Mrs. Roosevelt's brief 
four-paragraph introduction, dated May 6, 1932, as it 
appeared in the gray-covered Jacket Library edition: 



It is with a great deal of interest that I find that 
"Alice in Wonderland" is being published in 
this edition, which will make it possible for ev- 
eryone to buy it and enjoy it. 

Just as a story, children of every age have 
found sense and nonsense so intermingled 
that they have always delighted in it, but as we 
grow older and read into it some of the sub- 
tier meaning which is there on politics and life 
in general, we enjoy it perhaps more deeply 
than we did as children. It is one of the things, 
however, that every child should become ab- 
solutely familiar with. One should not go 
through life without remembering such quo- 
tations, for instance, "'The time has come,' 
the Walrus said, 'To talk of many things,'" etc. 
"Through the Looking Glass" and "The Hunt- 
ing of the Snark" are all things which belong 
to the formative period of a child's life. 

Nonsense may have meaning when you 
grow up, unsuspected in your youth, but 
charming nonsense helps to form taste, and 
our children will find certain quotations stay- 
ing with them all their lives. 

Appreciations have been written many . 
times, far better than I could write them of 
this masterpiece, and so I think the best I can 
do is, like the Snark, turn into a Boojum and 
softly and suddenly vanish away. 
Anna Eleanor Roosevelt 
(Mrs. F. D. Roosevelt) 

Injuly 1932, according to her typescript now in the 
Eleanor Roosevelt Papers at the Franklin D. Roosevelt 
Library in Hyde Park, New York (Box 3032), Eleanor 
wrote another short essay on Alice, nonsense, and the 
importance of reading. The essay appeared in the 
November 1932 issue of the children's magazine /o/in 
Martin 's Book, which was edited and largely written by 
her friend Morgan van Roorbach Shepard, who wrote 
under the penname of John Martin.^ Here is the text 
of her charming article as published in the magazine, 
with a few small editorial corrections and changes 
made by "John Martin" from the July typescript. 

I wonder how many children today have time 
to enjoy such books as "Robinson Crusoe" and 



22 



"The Swiss Family Robinson" in the way that I 
did when I was young. 

I had a small brother six years younger 
than myself and when I undertook to drama- 
tize the book which I was reading, he, poor 
child, was forced to do many strange things. 
I was always the principal character, Robinson 
Crusoe, and he was poor Friday but it lent a 
sense of adventure to a day spent in the woods, 
not a quarter of a mile away from home, to 
make believe that you were cast off on a desert 
island and that you had to try out some of the 
things described in the book. 

"Alice in Wonderland" was pure nonsense 
but such delightful nonsense that I longed to 
grow either small or big as the case might be, 
and some of the fairy tales filled very pleasant 
hours when I wished to feel that the world of 
every day was quite removed from my own ho- 
rizon. Grown-ups have this feeling sometimes. 
They think it is a need for physical change 
or environment but it is really a need for tak- 
ing your mind into a different kind of world, 
and children unconsciously do this if they are 
taught young to love books and live with them. 

There is something, however, that we 
should all learn very young, namely, that it 
is quite legitimate to have different tastes 
and like different books. We are never called 
upon to say we like something or to spend our 
time reading something because someone 
else has told us that we should like it. Every 
individual must develop their own individu- 
ality. If you have no sense of humor and do 
not see that things are funny, it is well to try 
to cultivate it; but is useless to say that you 
see humor in things until you really do, and 
you are certainly never called upon to like a 
book because it pleases someone else's taste. It 
is well to train yourself to appreciate as many 
different kinds of writing as you can, because 
every new thing that you like gives you a new 
way to enjoy life; but making believe that you 
are something which you are not, or that you 
appreciate something which you do not, is a 
waste of time. Remember that when you read, 
you are reading for your own enjoyment, and 
that half the pleasure of a book lies in think- 
ing it over and deciding what made you like 
or dislike it. Sometimes you both like and dis- 
like different parts of the same book. Much of 
your judgment comes from thinking it over 
and talking it over and deciding what you, 
yourself, felt about it. You lose half the joy of 
reading if you let other people interfere with 
the formation and development of your taste. 



Stories, as a rule, are little parts out of life, 
word pictures, and when you read a book, you 
should get the feeling that you have lived for 
a while with the people in the story. If you are 
sorry to finish it and feel that you would have 
liked to live with them a little longer, then you 
can safely say it was a good book. Try to think 
of the characters in books as people who really 
lived, and then you will want to own books and 
to have them around you, just as you want to 
have family pictures and furniture and friends 
that you love in your every-day environment. 

Eleanor Roosevelt 

A month after Eleanor wrote her essay for 
"John Martin," Franklin Roosevelt invoked Alice in 
an important political campaign address that he 
delivered in Columbus, Ohio, on August 20, 1932. ' In 
that speech he said: 

It has been suggested that the American pub- 
lic was apparently elected to the role of our 
old friend, Alice in Wonderland. I agree that 
Alice was peering into a wonderful looking- 
glass of the wonderful economics. White 
Knights had great schemes of unlimited sales 
in foreign markets and discounted the future 
ten years ahead. 

The poorhouse was to vanish like the 
Cheshire cat. A mad hatter invited everyone to 
"have some more profits." There were no prof- 
its, except on paper. A cynical Father William 
in the lower district of Manhattan balanced 
the sinuous evil of a pool-ridden stock market 
on the end of his nose. A puzzled, somewhat 
skeptical Alice asked the Republican leader- 
ship some simple questions: 
"Will not the printing and selling of more 
stocks and bonds, the building of new plants 
and the increase of efficiency produce more 
goods than we can buy?" 

"No," shouted Humpty Dumpty. "The 
more we produce the more we can buy." 
"What if we produce a surplus?" 
"Oh, we can sell it to foreign consumers." 
"How can the foreigners pay for it?" 
"Why, we will lend them the money." 
"I see," said little Alice, "they will buy 
our surplus with our money. Of course, these 
foreigners will pay us back by selling us their 
goods?" 

"Oh, not at all," said Humpty Dumpty." 
We set up a high wall called the tariff." 

"And," said Alice at last, "how will the for- 
eigners pay off these loans?" 

"That is easy," said Humpty Dumpty, "did 
you ever hear of a moratorium?" 



23 



And so, at last, my friends, we have 
reached the heart of the magic formula of 
1928. Strange as it may seem, the road to abo- 
lition of poverty was a constantly increasing 
maze of machine production. The absorption 
of the surplus was to be through what I quoted 
before, the "development of backward and 
crippled countries by means of loans." 

The "lift-yourself-up-by-your-own-boot- 
straps" theory was believed. Yes, it appeared to 
work. People voted the exponent of the new 
economics into office and rushed into the 
markets to buy. Under the spell of this fable 
they sacrificed on the altar of the stock market 
the frugal savings of a lifetime. 

With the help of Lewis Carroll's Alice, happy days 
were here again, at least for a time. 

' The National Home Library Foundation was incor- 
porated in 1932 under the laws of the District of 
Columbia. The founder, Sherman F. Mittell, declared: 
"The particular business and objects of this corporation 
are to promote and inculcate in more people 
the desire to read good literature; to make home 
libraries more easily available to great nimibers of our 
population; to urge the reading of good literature 
through printed announcements, radio broadcasts 
and newspapers; and to these ends to provide for 
the delivery and holding of lectures, exhibits, public 
meetings, classes and conferences, calculated to advance 
the cause of education and promote the general 
culture of the nation." Further information available at 
homelibraiyfoundation.com/histoiy. 

'' There were two issues of the Jacket Library's Alicem 1932. 
One copy, bound in light gray paper wraps, includes the 
Roosevelt introduction; the other copy, two centimeters 
taller and bound in orange simulated suede, lacks the 
introduction. 

' Morgan van Roorbach Shepard ("John Martin") was 
born in Brooklyn, New York, on April 8, 1865; however, 
Shepard's earliest childhood memories were of the 



Maryland plantation to which his family moved soon 
after his birth. Shepard's mother tutored him for the first 
ten years of his life, but following her death from cancer 
the boy spent an unhappy period being shifted through 
a succession of schools, both in Europe and America. 
At the age of sixteen he left home and adventured in 
Central and South America for a time. 

Following his participation in a Central American 
revolution, Shepard returned to the United States and 
worked his way to California by undertaking a variety 
of jobs, including punching cattle, herding sheep, and 
picking grapes. Once settled in California, Shepard 
supported himself by working as a street-car conductor, 
a newspaper reporter, and a bank clerk. In 1900 he 
married Maiy Elliot Putnam. 

Following his stint as a bank clerk, Shepard went 
into the publishing business and traveled to Europe to 
study printing and bookbinding. LIpon his return to San 
Francisco, he began a design firm, which was destroyed 
in the earthquake of 1906. Shepard then took the pen 
name of John Martin and began earning extra money 
by writing children's verse and long, illustrated letters 
to children. In 1912, Shepard began publishing these 
letters as a monthly magazine entided /o/jn Martin 's Book. 
By 1925 the circulation of this magazine had reached 
40,000. Though Shepard considered the magazine a 
financial failure, it remained in publication for over 
twenty years. 

Upon the discontinuation oi John Martin's Bookm 
1933, Shepard was appointed juvenile director for the 
National Broadcasting Company through the influence 
of his friend Eleanor Roosevelt. Shepard was unhappy 
with his job at NBC, however, and was later fired. After 
his wife died in 1942, Shepard took up residence at the 
Players Club, a private social club for professional men in 
the arts, of which he had long been a member He died 
on May 16, 1947, at the age of eighty-two. Available from 
www.lib.usm.edu/legacy/degrimi/public_html/html/ 
research/findaids/mardn.htm. 

In the Public Papers and Addresses of Franklin D. Roosevelt, 
this document is titled, simply "Campaign Address at 
Columbus, Ohio," August 20, 1932, with the subdde "The 
Failures of the Preceding Administration." Text available 
ai www.presidency.ucsb. edu/ws/index.php?pid=88407. 




"Oh Dear, How Puzzling It All Is" 

I am currently editing Volume 5 in the LCSNA's The Pamphlets of Lewis 
Carroll series, this one about "Games and Puzzles." In addition 
to all of the relevant pamphlets, I would like to get copies of 
any unpublished Carroll letters and other manuscripts that 
mention games and puzzles, so I can cite them in the book. I 
would also like to cite any games and puzzles that have appeared 
over the years that have been inspiredhy Carroll's ideas. 

Any information about these topics would be greatly appreciated. 

Chris Morgan 

morgan@bookgenius.org 

587 Tremont Street 

Boston, MA 02118 



24 



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Leaves ;rKoo? 
rlje Deaneny GaRden 



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Dear Editor, 

I'm a sophomore in high school. 
I'm very interested in literature 
and I've been reading a lot of 
Lewis Carroll. I thought that per- 
haps this poem of mine might 
interest you. 

Alice 

A whimsical sanctuary of make 
believe, 

Where all that exists is not what it 
seems. 

I dance the painted petals of flow- 
ers 

In a halcyon daze that is only ours. 

I wear dresses of cotton that have 
no seams 

In a land that is fanciful; made up 
of dreams. 

Not one will speak of war 

Not one will care at last when it's 
no more. 

Neither worry nor care exist in this 
land. 

For it is hidden in slumber; un- 
marked and unmanned 

That was, until that girl with ash 
hair stumbled into sight. 



A foolish young girl of trepidation 

and fright. 
She fell through a hole to a land 

of illusion and fluff. 
Yes, it all happened quietly 
enough. 
Mara Brian 

St. Thomas High School, Pointe- 
Claire, Quebec 



-^ 



Dear Editor, 

I enjoyed, and was somewhat 
intrigued by, the article by Fran 
Abeles in Knight Letter S%. Re: item 
35 — she claims that "the galley 
pages of the Rule are in the Jef- 
frey Stern and Selwyn Goodacre 
Collections." This is in fact not the 
case. I do not have this item in my 
collection! 

What I can claim to have, is 
the following: 8'' Paper on Logic, 
December 1892. A single page 
printed on one side only. Not re- 
corded in the Handbook. Possibly a 
proof of the second page of the 5"' 
Paper. Measures 8.6" x 5.5". [The 



Parrish copy of the December 
1892 issue of the 8"' Paper (printed 
on both sides of the paper) mea- 
sures 8.5" X 5.25".] 

In the note 'Additional Pieces' 
Fran correcdy says that the Pall 
Mall Gazette letters on betting 
are in 19/20 November 1866, 
but only cites 21 November 1866 
for The Times. In fact, of course, 
the first was in the 20 November 
issue: "The Science of Betting" 
(Letter to the Editor) : The Times 
20 November 1866. "The Science 
of Betting" (Letter to the Editor, 
correcting the previous item): The 
Times2l November 1866. 

Yours, 

Selwyn Goodacre 



Dear Editor, 

I work for the University of Ala- 
bama as a Digitization Technolo- 
gist; digitally archiving historically 
relevant items like vintage manu- 
scripts, art, and music. So my time 
is usually split between working di- 



25 



rectly with the material, and 
creating and editing scripts 
in Python and Perl to manip- 
ulate the resulting files and 
tracking data. As a long time 
Lewis Carroll enthusiast, one 
day I found myself re-writing 
the first verse of Jabberwocky 
in Python script. Perhaps 
the programmer segment of 
your readers will get a kick 
out of it. 

def jabberwocky 
(brillig, toves, 
slithy, gyre, gimble, 
borogoves, mimsy, 
in_grabe, out_grabe, 
mome ) : 

while (brillig == True) 
AND (toves == slithy): 



wabe = toves * (gyre + 

gimble) 

return wabe 

if (borogoves != mimsy): 

mome.raths = in_grabe 

momeStatus = mome.raths 

print ('Status for Mome 

Raths is', momeStatus) 

else: 

mome.raths = out_grabe 
momeStatus = mome . raths 
print ( 'Status for Mome 
Raths is', momeStatus) 
Austin Dixon, Tuscaloosa, AL 



Dear Editor, 

I wanted to personally thank Clare 
Imholtz and the LCSNA for their 
extraordinary visit on April 19''\ 
My students will never forget it. 
Much was learned before the visit 
but much was also learned that 



day. They witnessed the dedication 
of your committee members to Mr. 
Dodgson 's work, the undying love 
of a family for their mother and 
her life's work and the kindness 
of perfect strangers. I feel very 
blessed to have connected with 
each of you. This visit did far more 
than I could ever have done to en- 
courage the children to read such 
a classic piece of literature. 
Lisa England, 

Frank Morgan Elementary School, 
Clemmons, North Carolina 



Anyone who has ever seen an 
eighteen-month-old in pursuit of 
a house cat knows that the real 
forest of unknowing is not the 
peaceable kingdom where the lion 
lies down with the lamb. Lewis 
Carroll was seduced by the adult 
wish for an alterative to the cyni- 
cism of adult self-consciousness. 
He describes, with cynicism and 
amusement, a place where there is 
neither, because in the absence of 
words everything is at rest. 

Francis Spufford, The Child That 
Books Built, Metropolitan Books, 
Henry Holt and Company, New 
York, 2002. 




"I'll just say, "Eleanor, follow me 
down this rabbit hole. . . .'" 

He laid his thumb on her hps to 
see if she'd pull away. She didn't. 

Rainboiv Rowell, Eleanor & Park, 

St. Martin 's Griffin, Neiv York, 

2013. 






^ 

With my cram session at an end, 
Mn O'Donovan leaves me with 
a laugh and a warning: "You're 
heading down the rabbit hole." 

Matt Richtel, "License to Brew, " 
The New York Times, January 2, 
2013. 






So in offering me this privileged 
access, the National Gallery was 
giving me a rabbit hole where, like 
Alice, I could discover a world of 
unsurpassed magic. 

Betty Churcher, Notebooks, 
The Miegunyah Press, Victoria, 
Australia, 2011. 



"Oh ," Graydon said with a 
Cheshire cat [sic] grin, "you'll 
think of something. And if you 
don't, I'll come visit you on Sun- 
days. Bring you croissants and 
a file." 

Christopher Buckley, Supreme 
Courtship, Twelve, Hatchette Book 
Group USA, New York, 2008. 






Taunting her on the quest are 
three Tree Children (played by 
Caroline Tamas), their faces em- 
blazoned via live video on giant 
eggs resting on a branch, sow- 
ing self-doubt like malevolent 
Cheshire Cats. 

Andy Webster, "Charting a 
Dreamlike Journey, luith Travels 
Both Outside and In, "The New 
York Times, /anuary 25, 2012. 



26 



Margaret had always thought that 
Sundays in the Burne-Jones house- 
hold must have inspired Reverend 
Dodgson's endless tea party in 
Wonderland, everyone switching 
cups all afternoon and one of the 
guests asleep in the teapot. 
Elizabeth Wein, "For the Briar 
Rose, " in Queen Victoria's Book 
of Spells, collected by Ellen Datlow 
and Tern Windling, Tom Doherty 
Associates, New York, 2013. 



Lewis Carroll's Mock Turde cried 
over memories of studying "reeling 
and writhing" in school, a com- 
plaint that resonates with modern 
DNA research into knots and 
tangles. 

Sam Kean, The Violinist's 
Thumb, Littk, Brown and 
Company, New York, 2012. 



Tolkien, like Lewis Carroll before 
him, is drawing heavily on the 
landscape round Oxford where he 
lived. Just as, I am sure, the chess- 
board view of three counties from 
White Horse Hill suggested Alice 



Through the Looking Glass [sic], it 
surely also gave rise to the Shire. 
Diana Wynne Jones, "The Shape 
of the Narrative in The Lord of the 
Rings, "first published «n J.R.R. 
Tolkien: This Far Land, edited 
by Robert Giddings. Republished 
in Reflections on the Magic of 
Writing by Diana Wynne Jones, 
Greenwillow, New York, 2012. 



In place of baseboards, a seven- 
inch band of black-and-white 
checkerboard wrapped all the way 
around the room, and above that 
ran what appeared to be a poem. 
No — Neva recognized it as the 
opening lines of Lewis Carroll's 
Jabberwocky: 'TWAS BRILLIG, 
AND THE SLITHYTOVES DID 
GYRE AND GIMBLE IN THE 
WABE . . . 

Diane Coplin Hammond, 
Hannah's Dream: a novel, 
Harper & Co, New York, 2008. 



Now and Then toddle through this 
book like Tweedledum and Twee- 
dledee, quite often bumping into 




one another and falling over but 

never laughing about it. 

Dwight Garner, "The Marriage Has 
Ended, Revenge Begins, " The New 
York Times, February 13, 2013. 



By the same reasoning in the 
same minds Nursery Rhymes [sic] 
should be abolished; and indeed 
"Peter Parley" did suggest that in 
his New England campaign. 'You 
might as well try to catch a Bander- 
snatch." 

F.J. Harvey Darton, Children's 
Books in England: Five Cen- 
turies of Social Life, Cambridge 
University Press, 1 932. 



If Lewis Carroll had been the 
pen name not of the Rev. Charles 
Dodgson but of the Rebbe Chaim 
Dobrin, we might have been 
parsing the verbal horseplay of 
Tveedledum and Tveedledee as 
the Talmudic disputes of yeshiva 
bochers [students]. (You may also 
have noticed that the Mad Hatter 
never goes bareheaded.) 

Antho7iy Gottlieb, reviewing No 
Joke: Makingjewish Humor by 
Ruth R Wisse in The New York 
Times Book Review, June 2, 2012 



[Bridsh ceramicist Michael Cardew 
(1901-1983)] had grown up in a 
bohemian family in the circle of 
Oscar Wilde and Lewis Carroll . . . 
Eve M. Kahn, Antiques, The New 
York Times, December 21, 2012. 



"A very good example of how we 
use our knowledge of language 
to help us crack the meaning of a 



sentence can be found in the won- 
derful nonsense rhyme by Edward 
Lear, The Jabberwocky." 

Lynne Lawrence, Montessori 
Read and Write: A Parents' 
Guide to Literacy for Children, 
Three Rivers Press, 1 998. 



"Sasha," Rostnikov had inter- 
rupted, "do you know Alice in 
Wonderland^'. . .''You should read 
it," said Rostnikov. "It is about 
the Soviet Union. At one point a 
crazed hat maker says what I am 
about to say to you: Begin at the 
beginning and when you come to 
the end, stop." 

Stuart M. Kaminsky, Rostnikov 's 
Vacation by NY: Ivy Books, 1991. 



27 



'■ilsjb Hf^ OF MARK BURSTEIN 




^irst, massive kudos and props to those who 
I made the spring meeting in North Carroll- 
ina such a fantastic event, Charlie, Janice, 
and Stephanie Lovett, whose titanic efforts and gra- 
cious Southern hospitality made this gathering par- 
ticularly memorable. And to Ellie and David Schaefer 
and the staff of Frank Morgan Elementary School, 
where the Maxine Schaefer Memorial Reading was 
held (and Patt Griffin and Daniel Singer for perform- 
ing there), and Michael Ebeling of 
Summit School. And to our bril- 
liant presenters: A Perfect Likeness's 
playwright, Daniel Singer, actors 
Ben Baker and Michael Kamtman, 
director John Gulley, Amy Da Luz, 
the artistic director of Paper Lan- 
tern Theatre, and the backstage 
crew; pianist Peter Kairoff, tenor 
Glenn Siebert, and narrator Sel- 
wyn Goodacre for the Concert for 
the Don; speakers Charlie Lovett, 
Dr. Morna O'Neill, Mark Richards, 
Mark Goodacre, and the efferves- 
cent Jett Jackson; and to the Rev. Steve Rice and The 
St. Timothy's Choir for a most lovely, melodious Vic- 
torian church service. 

I'm very excited about our next meeting, which 
will be in Los Angeles on November 1-3, 2013. Karen 
Mortillaro and George and Linda Cassady will be our 
hosts for a conference at the University of Southern 
California (USC) themed "Carrollian Outsiders." 
Tentative plans include six sessions on Saturday: L 
editors of the Alice Project (online, each page of Won- 
derland being illustrated by a different artist), 2. sci- 
ence writer Margaret Wertheim, 3. Christopher Tyler 
(inventor of the "Magic Eye" stereogram) on Parallel 




Alices: Alice through the Looking-Glass of Eleanor of Aqui- 
taine, 4. winners of the USC Libraries' Wonderland 
Awards, 5. videogames, and 6. graphic novels; and on 
Sunday, a tour of the Cassady Lewis Carroll Collection 
at the USC Libraries, a tour by Karen Mortillaro of 
the foundry where her anamorphic Alice sculptures 
are cast, and an afternoon soiree at Daniel Singer's. 

Next year, we will be back in New York in the 
spring, and in Toronto in the fall. 

Shout-outs also to our new 
board member, August Imholtz, our 
new blogmaster, Andrew SeUon, and 
our new proofreader, Sarah Adams- 
Kiddy. Rachel Eley will continue to 
assemble "Far-flung" for print, and 
Ray Kiddy will be master of our web- 
site. Let us thank James Welsch for 
all he has done for the blog, and 
wish him well in his new job with 
the Oakland Museum of California. 
I have assumed the directorship of 
the publications committee, and 
thank Fran Abeles for her fine work 
in that position these many years (she will continue 
on the committee). Speaking of which, work on Al- 
ice in a World of Wonderlands, Collected Pamphlets Volume 
Five: Games, and Sonja in the Kingdom of Wonder 
is proceeding apace. 

It sounded an excellent plan, no doubt 

and very neatly and simply 

arranged; the 

only difficulty 

was, that she 

had not the 

smallest idea 

how to set 

about it . . . 




28 



ALL MUST HAVE PRIZES 

Would You Like to Have More Tea (Sets)? 



JOEL B IREN BAUM 



"W et's talk about tea sets, shall we? I 

I don't mean the adult kind like the 

.^^i^^.Mad Hatter, the March Hare, and the 
Dormouse used; I mean toy tea sets that are used 
by young children to have a tea party with their dolls 
and stuffed animals. These are the same tea sets that 
remain unused by avid collectors. You know who you 
are. How many times have you heard your spouse 
say, as you open a package that has just arrived in the 
mail, "That isn't another plastic tea set, is it?" 

The first children's Alicetea. sets that I am aware of 
were produced in the early 1900s and were not made 
of plastic. They were high-quality china items made 
in Germany, destined for sale in the English market. 
I find it hard to believe that English parents of that 
era allowed their children to actually play with fine 
china. Each piece was hand-painted with a scene after 
Tenniel in the center and a green surround. While 
editing this column, I found a similar set with a green 
circular stripe, which I had not previously seen. The 
exciting feature of this set is that it had magnificent 
Jabberwock plates. No matter how long you have been 
collecting, you can still enjoy the thrill of discovery. 
Obviously, when pieces of these sets are found today, 
it is rare to find them without paint chips, and often 
they are chipped or cracked. Undamaged sets are 
therefore often accompanied by a high price tag. 
To this day, they are the high end of this categoiy of 
collectable. 

Perhaps children stopped having tea parties, 
because the next set I am aware of was made by 
The Richardson Company of Cincinnati, Ohio, in 
1933. The set was made of a durable plastic called 
Richelain, and came in red, yellow, green, and mixed 
colors. Visually it does not have much to say for itself, 
as the only decoration is a decal of Alice's head that 
appears on the sugar bowl, creamer, and teapot. The 
distinctive shape of the handles of these three pieces 
leads me to describe them as art deco in design. The 
box, on the other hand, has many Tenniel characters 
on it, and states on the inside of the cover, "Alice 
gives you the key to golden table manners with this 
set of Richelain." Beneath this phrase is a parody of 
"The Walrus and the Carpenter," themed on good 
manners, accompanied by Tenniel line drawings. 
Even more than other collectables, it is essential to 




have this set mint in box. The Richelain 

tea set was one of the many items that were 

part of the Paramount movie merchandising 

campaign. 

A number of variations of Alice tea sets were 
made by Plasco in 1948. There are sets of 8, 10, 11, 13, 
17, and 39 pieces, which were made of thin breakable 
plastic. The utensils that came with these are often 
missing or incomplete, and it is not unusual to be 
missing the lids of the semng pieces. Each piece is 
adorned with a character in bas relief. The set also 
came in a variety of colors: cream, blue, yellow, red, 
and pink. The deluxe set is further decorated with 
hand-painted floral patterns. There are also sets that 
are colored but have white character figures in the 
center, giving the appearance of a cameo, which made 
the characters more prominent. Just when I thought 
1 had seen all varieties, I recently came across a set 
of transparent red with hand-painted decoration. 
As I stated earlier, new discoveries abound. Another 
interesting point is that some of the sets came in 
boxes that were die cut, so that they could be shown 
as displays. 

Other plastic tea sets that I know less about 
include the one produced by Bell Toy (in England), 
which was made of "almost unbreakable polytherm." 
Each piece within the set was made of white, orange, 
or red. The style of the set is late 1950s Danish, to 
my untrained eye. If not for the name and cartoon- 
like litho on the cover, nobody would know it is an 
Alice tea set. The Reliable tea set made in England 
can accommodate a tea party for one, as there is only 
one cup. The pieces are unmarked, and the cover 
illustration of the mad tea party is the lone indication 
that this sad set is an Alice set. The Tudor Rose set 
also just has an illustrated box, but I have not seen 
it. My database entiy tells me that the House Martin 
tea set made in the UK has a scratch-proof polymer 
coating with a child Alice figure on the plates and 
saucers. There are four plates, four cups and saucers, 
and a teapot. I don't at all recall what this looks like. 
It is quite easy to picture young children playing with 
these plastic tea sets. After all, they didn't have iPads 
in those days. 

1 think that people can more readily imagine 
modern ceramic toy tea sets as future collectables. 



29 




A neatly packaged tea set by Reutter 



There was a miniature set designed by Anne 
Lillemoe, and made by B. Shackman & Co. in 1994. 
The set is made in Taiwan, is decorated with color 
illustrations after Tenniel, and is a cheap little set 
that you wouldn't hesitate to let children play with 



(if it weren't for the choking hazard). More recently 
there have been multiple sets made by Whittards and 
Cardew in the UK, and Reutter Porzellan in Germany. 

In 2006 Whittards used illustrations by Neal 
Osbourne, which were simply drawn and hand- 
painted in muted colors. In contrast, the Cardew 
Company chose bolder colors, which seem more 
suited to an American audience. Both companies 
paid great attention to the packaging and therefore, 
once again, it is imperative to save said packaging. 
These companies made many pieces for adult use, but 
only a couple of toy tea sets are in their product lines. 
In 1993 Reutter marketed a seven-piece porcelain 
tea set through the New York Public Library and 
the Metropolitan Museum of Art. These pieces were 
adorned with Tenniel characters, painted in muted 
tones. Later, in 2010, they made three more sets, one 
of which is a children's set composed of 19 pieces. 
These sets are also decorated with Tenniel figures, 
but the color scheme uses bolder colors. They are 
packaged in hampers with floral patterns, which 
make for a very pleasing presentation. These three 
companies brought back a higher quality to toy tea 
sets. Still, 1 have to think that these were produced 
with the older collector in mind. 

I will leave it to Matt Crandall to illuminate us on 
Disney toy tea sets another day. 



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Frankie Y. Bailey 

Peter Beuret 

Jessica De Leon 

Kaylie DiGiacomo 

Eileen Frost 

Mark Goodacre 

April James 

Dorothy Louise 

Ashleigh Kristensen 

Carolyn Kunin 

Stacia Martin 

Stephanie McCown 




Ife 



Maura McGrath 
Trista Merrill 
Adam Muto 
Les Norman 
Thomas Palumbo 
Franklin Penny 
Susan Powell 



Michael Reed 

Marion Rosser 

Ed Shaklee 

Stuart M. Shieber 

Pamela Sowers 

Paula Stober 

Hal Tepler 

Leigh Vecchio 
VJ. Waks 

George Walker 
Jenna West 
Susan Wind 



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30 



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ANDREW WOODHAM 



^^ 



m^ 



^ 



use graduate student Andrew Woodham (pursuing a doc- 
toral major in Genetics Molecular and Cellular Biology) took 
first prize in the ninth-annual USC Libraries Wonderland 
Award competition for "A Reflection on Lewis Carroll, " a 
3-foot by 4-foot 64-word crossword puzzle. There were 42 
submissions from students attending USC and other par- 
ticipating institutions. Andrew's win marked the first time 
in the Award 's history that one student earned the top prize 
in two consecutive years. We hope our readers enjoy solving 
Andrew's Carrollian crossword, which we've reproduced 
here along with an edited portion of Andrew's explanatory 
essay. More information about the Wonderland competi- 
tion and the G. Edward Cassady, M.D., and Margaret 
Elizabeth Cassady, KN., Lewis Carroll Collection is avail- 
able at http://www.usc.edu/libraries/neivs/wonderland/. 

SPOILER ALERT: If you wish to solve the puzzle, read 
Woodham's article afterwards; it contains many answers. 
The complete answer is on the inside back cover. 

^his crossword was just as much designed for 
Charles Dodgson as it was inspired by Lewis 
Carroll. I like to imagine Dodgson discover- 
ing the puzzle in his own time, and growing excited as 
he realizes that the clues revolve around his two most 
celebrated works, AAIW and TTLG. Therefore, all of 
the answers are meant to be solvable by Dodgson, and 
anyone else who loves his work and shares his appe- 
tite for wordplay. As Carroll set the stage for his own 
inventive word puzzle, the Doublet, by stating that 
"The rules of the Puzzle are simple enough," I too will 
say that the theme of this crossword is simple enough. 
Simply fill in the squares that agree with the clue, and 
with some patience, the solution will emerge. 

As the title hints, the crossword's theme revolves 
around the notion that the world found through the 
Looking Glass is a reflection of Wonderland. Hence, 
there are five starred clues whose answers in the grid 
need to be written backwards as if viewed in a mirror. 
Two of these provide the key, as 18-across in combina- 
tion with 51-across spells out SSALG GNIKOOL EHT 




HGUORHT, i.e., the words THROUGH THE LOOK- 
ING GLASS viewed in a looking glass. This helps solve 
the other three starred clues, which are: YKCOWREB- 
BAJ orJABBERWOCKY (35-across), DNALREDNOW 
or WONDERLAND (55-across), and SDRAC RO SSE- 
HC or CHESS OR CARDS (20-across). 

Another hint to the reflective nature of the puz- 
zle is the clue for 35-across, which asks for a famous 
nonsense poem from TTLG. The answer to this is, of 
course, YKCOWREBBAJ, a "reflective" word which 
helped Alice to realize that everything found in the 
Looking Glass world was a reflection of the world 
from which she came, and also, in many ways a reflec- 
tion of Wonderland. 

There is a balance between the two puzzle worlds. 
For example, the answer to 20-across is SDRAC RO 
SSEHC, or CHESS OR CARDS, the games that pro- 
vided the background imagery for both worlds, and 
also point to Dodgson's love for games and puzzles. 

Likewise, both HAT MAKERS (34-down) and 
HARE (34-across) make appearances in the grid for 
the Hatter and the March Hare, both of whom are 
(besides Alice) the only characters to appear in both 
worlds, although disguised as Hatta and Haigha in 
the Looking Glass world. 

There are many riddly and punnish answers, and 
answers timely to nineteenth-centuiy Britain as well. 
In the puzzle, the Queen of Heart's tart becomes 
ROYAL CAKE (4-down), and to have wrongly under- 
stood the Queen is to have MISRED (43-down) rath- 
er than misread — a play on the Red Queen herself. 
Strictiy British terms include SLOOPS (46-down), as 
in the nineteenth-century British naval ships known 
as sloops-of-war; STED (63-across) the Middle Eng- 
lish spelling for stead (or a place); and SWARD 
(62-across), a British term for a lawn, which was used 
by Carroll himself in S&B. 

The rest of the puzzle is aswarm with Carrollian 
clues and answers, and the complete descriptions of 
all of the subtle wordplay can be found with the pro- 
vided solution explanations. While I like to imagine 



31 



Dodgson encountering this puzzle in a London news- 
paper, I wonder how he himself would have liked the 
puzzle to appear. This is where the rest of the project 
comes into play. I hand-drew the title letters, inspired 
by Tenniel's version of Carroll's fictional characters. 

Lasdy, for the truly obsessed puzzler, I've add- 
ed a Doublet in the upper-right-hand corner of the 
crossword. It can be generated by starting with the 
Dormouse in 9-across: YAWNS, and ending with the 
Dormouse in 16-across: ORATE. In Carroll's own 
words: "The rules of the Puzzle are simple enough. 
Two words are proposed, of the same length; and the 
Puzzle consists in linking these together by interpos- 
ing other words, each of which shall differ from the 
next word in one letter only. That is to say, one let- 
ter may be changed in one of the given words, then 
one letter in the word so obtained, and so on, till we 



arrive at the other given word. The letters must not 
be interchanged among themselves, but each must 
keep to its own place. As an example, the word 'head' 
may be changed into 'tail' by interposing the words 
'heal, teal, tell, tall'. I call the given words 'a Doublet', 
the interposed words 'Links', and the entire series 'a 
Chain'." 

So, can you solve the Doublet formed by the fol- 
lowing pair: YAWNS and ORATE? 

One answer to this conundrum, which can be 
solved within 10 links, is provided with the key to the 
crossword grid. I hope that my Reflection on Lewis 
Carroll will challenge the most ardent admirer of 
Lewis Carroll and will tickle the fancies of fervent puz- 
zle professionals. Happy puzzling, and in the words 
of Carroll, "Begin at the beginning and go until you 
come to the end; then stop." 



ACROSS 

1. Battle like Tweedledee and Tweedledum 

5. A line made by 34-down 

9. Does as the Dormouse, i.e., acts tired 

14. Likewise 

15. Pilate's "Behold!" 

16. Do as the Dormouse, i.e., tell a story 

17. Feeble minded like 347^own 

18. *With 51-across, a hint how to solve the starred 

clues 

20. *Game choice for 18- and 55-across by way of 
18-across 

22. Small coral islands 

23. Alice: I do hope it'll grow large again 

27. Like 4-down, i.e., sweet in Italy 

28. High deg. for one studying Carroll 

30. All the King's horses and all the King's 

31. Path of a thrown lobster in the Lobster Quadrille 

33. Primero Numero 

34. The March 

35. *Famous nonsense poem as it originally ap- 

peared in 18-across 

38. Song in 18-across, "I give all, I can no more" 

40. Caviar source 
41. ME 

42. Alice's sister, e.g. 

43. Tends to a 62-across 

44. Hit hard like Humpty to the ground 
48. Hurting 

50. Utilitarian 

51. *See 18-across 



55. *Locale accessed through a rabbit whole by way 
of 18-across 

58. Darwin subj. 

59. Come to pass 

60. Like Carroll's talent 

61. Beginning to sing? 

62. Grassy area to Carroll 

63. Place in Middle England? 

64. Talk back 

DOWN 

1. Emphatic empathetic response 

2. Drudge along 

3. Copernicus's sci. 

4. The Queen's tart, e.g. 

5. Prophets 

6. Sound reflection 

7. Parts of plays 

8. Words served with shrugs 

9. The 53-down: "I wish made it." 

10. From a poem in 18- across: "And then they rested 

on " 

11. of 1812 

12. Highest degree 

13. Tea ; need for a Mad Tea-Party 

19. Raw rock? 

21. Clergyman to Carroll 

24. Possible key to start "Twinkle, twinkle..." 

25. Sea across the sea for Carroll 

26. End to a chemist? 
28. Tempts 



32 



1 


2 


3 


4 


1 


5 


6 


7 


8 


1 


9 


10 


11 


12 


13 


14 








15 








16 










17 








18 








19 












20 








21 














^^^1 


22 










g 


1 


■ 




23 




■ 


24 


25 


26 


27 










28 


29 






30 












31 




32 


33 




^H34 










35 








36 








37 








1 


38 


39 




^H40 








41 








42 




^H43 








50 


44 




45 


46 


47 


48 






49 






■ 


■ 












■■j^^^^HSI 






52 


53 


54 














55 


56 


57 
















1 


58 








59 










1 


60 








61 








62 










63 








64 









29. Serpent suffix 
32. Circles of light 

34. Mad employees? 

35. Plaint for a giant puppy 

36. When repeated thrice, the chorus to a 55-across 

lullaby 

37. Low voices 

38. Prefix for angle 

39. Female lobster 

43. Wrongly understood the Queen? 

45. "Not week or so," i.e., less than a week to the 

Hatter 



46. Single-masted vessels 

47. Greetings 

49. Speaking with , i.e., acting the drunkard 

50. Not married 

52. Prime Minister Gladstone and Queen Victoria, 

e.g. 

53. Bug that Alice found there 

54. Lance as with a joust 

55. French article 

56. Oxford to Birmingham dir. 

57. Did you ever see such a thing drawing of a 

muchness? 



33 



3n ilemoriam 



^^ 



^-•^ 




Anne Clark Amor 
February 4, 1933 - Decemberl2, 2012 

Remembered by August A. Imholtzjr. 

Mnne was a Londoner, born and raised. She attended 
Birkbeck College, University of London, from which 
she graduated with an honors B.A. in English. Her first 
book, Beasts and Bawdy, was based on her undergraduate studies of 
medieval and Renaissance literature. 

In 1969 she founded the Lewis Carroll Society, with Tim 
Leonard and with Ellis Hillman, a member of the London County 
Council (later renamed the Greater London Council) from 1958 to 1981 and a former lecturer 
in environmental studies at the North East London Polytechnic. The Society's meetings in its 
early years were held in London County Hall, where Anne was employed by the Greater London 
Council for some years in various administrative capacities. She was the first editor of the Society's 
long-running, brilliant but semi-irregular qu3.rter\y journal, Jabbenuocky, and the author of some 
31 articles and reviews that appeared, some unsigned, in its pages (see The Index to Jabbenuocky: 
The Journal of the Leivis Carroll Society, 1969-1 997 hy Clare Imholtz). She also contributed articles to 
The Lady, the Literary Revieiu, Books and Bookmen, The Wildean, and other journals. To illustrate her 
range of interests, a brief checklist of her major Carroll publications in English and some of her 
other works is given below. 

Clare and I first met Anne during our one-day attendance at the first Lewis Carroll International 
Conference at Christ Church, Oxford, in 1989, and we later saw her often on our trips to England 
for the outings of the British Lewis Carroll Society and on other occasions. She was a guest in our 
home when she came to the United States for the Second International Lewis Carroll Society 
conference, held in Winston-Salem, North Carolina, in 1994. Anne was unfailingly generous 
to those Lewis Carroll researchers who sought her help, and she was ever a most enthusiastic 
Carrollian. 

Perhaps not too many people today recall that Anne played a role, be it somewhat indirect, 
in the formation of the Lewis Carroll Society of North America (LCSNA). Here from an interview 
with LCSNA founding member David Schaefer, published in the LCSNA 25th anniversary volume, 
is how that came to be: 

My cousin George, a pathologist, happened to mention he had a friend in Indiana, Dr. 
Lall Montgomery, who had a large Lewis Carroll collection. Maxine wrote to Dr. Mont- 
gomery who promptly answered and said, "by the way, you are of course aware of the Lewis 
Carroll Society in London." We joined that society, went to London and attended one of 
their meetings. Anne Clark, who at that time was the head of the still relatively new British 
Lewis Carroll Society, told us she had been corresponding v«th a man named Stan Marx in 
New York who wanted to found a Carroll society. In 1973 we stopped at the Marxes's home 
in Long Island and discussed with Stan ideas for setting up what he then envisioned as an 
American branch of the British Lewis Carroll Society. 

If the surviving papers of both Stan Marx and Anne Clark Amor became available to the 
respective American and British Lewis Carroll societies, as one hopes will be the case, we may 
learn more not only about Anne but also about our history. 



34 



Some of Anne's Carrollian works: 

Lewis Carroll, a Biography (New York: 
Schocken Books, 1979). 

"Lewis Carroll through the Letter Box" 
Washington Post, ]\i\y 29, 1979. 

The Real Alice: Lewis Carroll's Dream Child 
(London: Michael Joseph, 1981). 

Letters to Skeffington Dodgson from His 
Father [Charles Dodgson] (London: Lewis 
Carroll Society, 1990). Notes and intro- 
duction by Anne Clark Amor. 

"C. L. Dodgson: An Englishman Abroad" 
in Proceedings of the Second International 
Lewis Carroll Conference, edited by Charlie 
Lovett (Winston-Salem, NC: Lewis Carroll 
Society of North America, 1994). 

Lewis Carroll, Child of the North (Luton: 
Lewis Carroll Society, 1995). 

Wonderland Come True to Alice in Lyndhurst 
(Luton: White Stone Publishing on behalf 
of the Lewis Carroll Society, 1995). 



Charles Dodgson and Alice Liddell Go to Paris 
(London: T.G.B. Productions, 1997). 

Alice's Adventures in Wonderland (introduc- 
tion) (Tokyo: Yohan Publications, 1997). 

Audio tape accompanied by a booklet, 
"Twelve Carroll Scholars Read Alice." 

The Life and Work of Philip Dodgson faques: 
A Tribute [with Morton Cohen et al.] 
(London: White Stone Publishing on be- 
half of the Lewis Carroll Society, 2004). 

"A New Kind of Novel: The Sylvie and 
Bruno Books," introduction to An An- 
notated International Bibliography ofLeivis 
Carroll's Sylvie and Bruno Books, edited by 
Byron Sewell and Clare Imholtz (New 
Castle, DE: Oak Knoll Press and the Brit- 
ish Library, 2008). 



3n iWemoriam 



^-^ 



^^ 



^-^ 




^ 



4 






Morris Grossman 

1921-2012 

Rernemhered by Augiist A. Imholtz, Jr. 

orris Grossman, Ph.D., age 90, of Fairfield, CT, passed 
away on Wednesday December 1 2, 201 2, at St. Vincen t's 
Medical Center. Long-time LCSNA member Janet Ju- 
rist introduced Morris to Lewis Carroll, and he gradually became 
an enthusiastic convert. For many years he attended our meetings, 
jgi^k^^ read a memorably excellent paper at one of them, and always asked 

'^H||P^|^ ^^P_^ : probing questions during the discussion periods. After meetings in 

New York City, he would modesdy hold forth at the cocktail parties 
Janet held in her Upper East Side apartment. Morris was a real philosopher, a salon philosophe in 
the best sense, who was interested in what people thought and why. His 1960 Columbia University 
doctoral dissertation was entided Santayana as dramatist and dialectician: A critical estimate made luith 
the help of unpublished manuscripts, and George Santayana, the Spanish-born American philosopher 
and colleague of William James at Harvard, remained his lifelong interest. 

For twenty-five years Morris taught philosophy at a Jesuit school, Fairfield University, in 
Connecticut. He contributed papers on aesthetics, on Santayana of course, and on other philosophers 
such as Charles Saunders Pierce to philosophy journals, but did not live long enough to see his book 
on Santayana accepted for publication by Fordham University Press just two months ago. He was a 
good friend to many members of our society and will be fondly remembered. 



35 



AI,ICE15 

CELEBRATING WONDERLAND 



JOEL BIRENBAUM 



'^here are numerous opportxinides for con- 
tributing to the success of Alice 150: Celebrat- 
ing Wonderland, and as specific needs arise 
we will notify you here. 




We need an indexer for Volume 1 of Alice in a World of 
Wonderlands/The Translations of Lewis Carroll's Master- 
piece. This is an analysis of the more than 100 transla- 
tion languages. This volume will have about 125 es- 
says, both the introductory and the language essays. It 
is an all unpaid volunteer effort with over 170 writers. 
The book will go to the publisher in the fall of 2013 
and be published in time for the Fall, 2015 "Alice 
150" celebration in New York. Interested members 
should contact Jon Lindseth atjalindseth@aol.com. 



Columbia University will be mounting an exhibit fo- 
cused on the exhibit they had in 1932, on the occasion 
of the centennial of Carroll's birth. We would like to 
know if anyone has memorabilia from the 1932 event. 



and would be willing to lend it for display. We would 
also like suggestions from our members on what Alice 
items they think would be particularly impactful in 
our exhibit of collectibles. Suggestions of other events 
that would broaden the appeal of our celebration also 
would be appreciated. No idea should be considered 
too big or too small. If you have items or suggestions, 
contact me atjoel@thebirenbaums.net. 



Although we are still looking for more brilliant ideas, 
the time has come to speak of implementing the ideas 
we already have. To this end we need qualified people 
to fill positions on the following committees: budget, 
fundraising, conference planning, education, graph- 
ic design, merchandizing, entertainment, hosting, 
and speakers bureau. If you are interested or know of 
anyone who could fill these positions, contact me at 
joel@thebirenbaums.net and we can go into further 
detail. 



-^ 




NOVEMBER I-3, 2013 
LOS ANGELES (p. 28) 

SPRING 2014 
NEW YORK CITY 

FALL 2014 
TORONTO 

Joint LCSNA/LCSCanada meeting 
SPRING 2015 

AUSTIN, TEXAS 

OCTOBER 10-11, 2015 
NEW YORK CITY 

as part of the cityunde celebrations 
ofMicelSO 




36 



^ 

CURIOUSER 6r' CURIOUSER: THE 
EVOLUTION OF WONDERLAND 

Ann Buki 

Lauren Millikan, a student at 
Carleton College has designed a 
website, Curiouser and Curiouser 
(www.carleton.edu/departments/ 
ENGL/Alice/index.html), that 
should appeal to both the novice 
and seasoned Carrolian. It con- 
tains nearly 200 web pages, over 
300 images, and links to scores 
of web pages and video clips. Its 
pages have 7,000 hyperlinks, with 
nearly 5,392 internal and 1,520 ex- 
ternal links. Lauren has included 
a "Rabbit Trail," featuring a White 
Rabbit icon with "Click Me" tempt- 
ingly written beneath it, that links 
to eleven of her favorite pages. 

In an e-mail, Lauren (who 
recently completed a master's 
degree in Library and Informa- 
tion Science at the University of 
Pittsburgh) mentioned that a 
professor from Carleton College 
used Curiouser and Curiouser as a 
tool in a Victorian novel course. 
She sent me the results of a survey 
that students had completed in 
response to the site: 70% agreed 
that it is a sound research tool. 
Lauren believes that the "Interpre- 
tations" section is most useful to 
scholars; 76.5% of the respondents 
agreed with her, and statistics from 
Google Analytics confirm this. 

Curiouser and Curiouser's pur- 
pose is to examine the evolution 
of AA/Ws Chapters 5 (Advice from 
a Caterpillar), 6 (Pig and Pepper), 
and 7 (A Mad Tea-Party) from the 
medium of printed text to that 
of the Internet. The home page 
links to its six (imagined before 
breakfast?) sections: About, Texts, 
Interpretations, Images, Other 
Media, and Footnotes. Each of 
these sections, which include an 
introductory essay by the author, 
focuses on the transition of Alice 
from print to digital format. 

The first section of "Texts" is 
especially informative (and the 
most interesting for me) because 




Camllian Notes 




the author compares Chapter 3 of 
Alice's Adventures Under Ground to 
Chapter 5 of AA/Win three ways: 
1. either plain or hyperlinked texts 
side by side, 2. Chapter 5 of AATW 
with major changes from Under 
Ground highlighted in red, with 
an option to click a symbol that 
will bring you back to the Under 
Ground text, and 3. side-by-side 
Carroll and Tenniel illustrations 
for the chapters. 

The second section, "From 
Print to Pixels," illustrates five ways 
to view the chapters, including 
plain text, plain text with images, 
hypertext, hypertext with hyper- 
images (the images switch from 
one illustrator's to another as you 
move over them), and finally, in 
the other e-texts section, Alice for 
the iPad. The author concludes 
(if such a verb can be applied to a 
website) with an exploratory essay 
on Text and Medium. 

"Interpretations" begins with a 
timeline that stretches from Car- 
roll's birth to the creation of the 
author's site in 2011. The critical 
analyses included focus on psy- 
choanalytic, biographical, and 
psychedelic interpretations, genre 
studies, feminist interpretations, 
and the responses of readers. 

There is an introductory essay 
for each section, with references 
to the bibliography and links to 
information about Carroll from 
websites of varying quality. One of 
the most comprehensive resources 
given is a link to a Google Scholar 
search in the Psychoanalytic Inter- 
pretation section. The Psychedelic 
Interpretation section is fun; it 



brought to mind an experience 
I had while sitting in a child psy- 
chiatrist's waiting room: A young 
boy's father was telling his son that 
Lewis Carroll was on drugs when 
he wrote the Alice books. My hu- 
mility and self-control prevented 
me from contradicting him, but I 
did hope that the doctor was able 
to exorcise that information. 

"Images" presents a chrono- 
logical panorama of 21 prominent 
illustrators of Chapters 5, 6, and 7, 
and includes a hyperlink to www. 
laurenharman.com/alice (Lau- 
ren's Alice in Wonderland page) 
for a more comprehensive list of 
illustrators and examples of their 
work. It is an especially valuable 
section, giving the viewer the abil- 
ity to compare artists' visions of 
Alice and the characters she en- 
counters with a click of the mouse. 
The essay on Image and Text 
examines the polarity of images as 
text versus images as a response to 
the text. 

"Alice in Other Media" is im- 
mense in size and scope; the num- 
ber of links provided in this section 
is dizzying. Its parts include Alice 
on Film, on the Stage, on Televi- 
sion, in Music, and on the Internet 
(where a link to LCSNA is, at last, 
provided). The entire 1983 Eva Le 
Gallienne play is posted in the stage 
section, and there are both film 
clips and entire films in that part. 
There is an airay of music videos, 
from opera to popular music. It 
took me many hours to explore 
this section, and would take much 
longer to take advantage of all that 
is here. 

I expected that the "Footnotes" 
would simply lead to the bibliog- 
raphy, but this is not the case. The 
author best describes what is here: 
"...this section works rather like 
an encyclopedic reference for all 
the footnotes linked in the vari- 
ous versions of the texts, in case 
when you were reading before you 
didn't want to click on the link, 
but now you are interested in what 
the footnote said. The footnotes 



37 



are arranged by chapter, and some- 
what into broader categories, such 
as 'math jokes,' 'poem parodies,' 
and 'characters.'" This section is, 
in a way, a summary of many things 
that have gone before it (and are 
still going on). The bibliography is 
perhaps based on the selection of 
resources in the Carleton College 
libraries. One listing that puzzled 
me was that the 1960 Annotated 
Alice, rather than The Annotated 
Alice: The Definitive Edition is cited. 
(I checked the library catalog, and 
it is there.) Within the site there 
are a few links to proprietary da- 
tabases, but there is so much else 
to experience and enjoy that these 
seem unimportant. 

'...and muchness— you know 
you say things are "much of a 
muchness"— did you ever see 
such a thing as a drawing of a 
muchness?' 

The website is a tribute to how 
a drawing of a muchness should 
look. The Internet, the creator of 
Curiouserand Curiouser st3.t€S, is a lot 
like Wonderland. I am grateful that, 
although one may encounter trolls 
on the Internet, there are none in 
Wonderland. 



ALICE IN WONDERLAND 
BITMAPPED 

Ann Buki 

Kris Temmerman of Neuropro- 
ductions Visual Development has 
created this bitmapped AATW, 
available to view on the Internet 
here: www.neuroproductions.be/ 
experiments/alice-in-wonderland- 
the-bitmap. Professor Bill Kules 
of Catholic University's School of 
Library and Information Science 
acted as an informed messenger, 
asking Kris if he had extended the 
idea of a Wordle, requesting infor- 
mation about the layout algorithm, 
and questioning whether or not 
there was a sequence to the words 
that a reader could follow. Kris 
commented on both his inspira- 
tion and method of creation: 

"I just reread the book just a 
couple of months before I made 
the Alice thing, and I needed a 
very short book, so it came imme- 
diately to my mind. I knew it was in 
the public domain, so I could use 
it, and download it from Project 
Gutenberg (www.gutenberg.org) 
in a form I could parse with my 
program. 

For the base illustration I took 
an Alice from Jessie Wilcox Smith's 



M 




>af 




vBm 




Ji^.^:,y^\: '_ 




;.--! 


1..- '"'■■■':L 


'M0jmmM&''^''^'-'^'- 






•~ \ 






S ADVENTURES IN WONO^^ " 


t-Hole .■■'•; 
) 



illustration (http://en.wikipedia. 
org/wiki/File:Alice_in_Wonder 
landjpg) which fitted quite well, 
it was also in the public domain, 
and it has the recognizable Disney 
Alice look. 

The algorithm itself is random, 
it takes a random point and tries to 
fit a word there, so the first words 
of the book have a higher chance 
of being bigger; aside from that, 
there isn't really a pattern." 

In a reply in the comments 
section of the page, Kris said that 
it took only an hour to create the 
bitmap, and that the code used 
is from MIT license: www.open- 
source.org/licenses/mit-license. 
php. He also answers other techni- 
cal and programming questions in 
this section. 



Alice in Bitmapland 



ALICE IN SUNDERLAND 

October, 2012 -January, 2013 
Law Office Art Gallery 

85 River Street 
Sunderland, Ontario 

Dayna Nuhn 

Not to be confused with Bryan Tal- 
bot's exquisite graphic novel, Alice 
in Sunderland was the clever title 
of a recent art exhibit at the Law 
Office Art Gallery in the charming 
rural community of Sunderland, 
Ontario, situated about 100 km 
northeast of Toronto. Curator Cria 
Pettingill credits her sister Mary's 
punny sense of humor as the major 
inspiration behind the show. Mary 
insisted it was a natural choice. 
Cria herself is a longtime fan of 
Lewis Carroll. When she was four- 
teen, she spent a summer reading 
the Alice books, and they have had 
a long-term impact. The sisters 
agreed that it was a perfect idea, 
and an exhibit was born. 

About twenty artists participated 
in the show. This group was com- 
posed of local artists who regularly 
exhibit at the gallery and others 
who were already creating Alice- 
inspired works, such as LCSNA 
members Tania lanovskaia, Oleg 
Lipchenko, and Andy Malcolm. 



38 




The local artists enthusiastically 
embraced the Alice in Sunderland 
theme. Together, this group pro- 
duced an amazing array of art in 
a wide variety of media: sculpture, 
oils, acrylics, wood engraving, 
and watercolors, photocopy with 
stamping, silver leaf, porcelain, cut 
paper, resin, gouache, and gel me- 
dium transfer. The subjects were 
just as varied. 




Two unicorns from the Mice in Sunderland show 



While it doesn't seem an obvi- 
ous choice to combine an art gal- 
lery with a legal practice, it works 
amazingly well and creates a truly 
unique space. The artworks shared 
wall space with bookshelves filled 
with beautifully bound legal texts. 
And the clear northern light 
streaming in the large front win- 
dow highlighted the art perfectly. 



Alice in Sunderland proved to be 
very popular with the public, with 
a large crowd at the opening on 
October 13th and many people re- 
turning for second visits. It became 
the most successful show in the 
Gallery's seven-year histoiy, with 
both the largest attendance and 
sales. That is no surprise to us — we 
loved it! 



He Died While Still Having So Much More to Say 

Madison Hatta 



He died while still having so much more to say, 

as I suppose we all will on our final day. 
What he left behind continues to inspire. 
As an accomplishment, there is nothing higher 

than that. So mad hats off to you, LC, 
or, as you were also known, CLD! 
I count you, of my spirit, a most special friend 
and though I've read books of your letters 

to the end 
it is not an end. No, I've only just begun 
to poke through your treasure trove of whimsy 

and pun. 



And through it, perhaps, I will get an inkling 
of what's behind the secret of the bat's twinkling. 
For you know, wherever there's a will, there's a way 
to while away the hours 'til Dormouse has its day. 

Madison Hatta (the alter ego of Dr. April Lynn James) 
composes and declaims ori^nal, whimsical sonnets on such 
themes as madness. Time, and the importance of drinking 
tea. More information on Madison and/or April may be 
found at www.aprillynnjames.com. 



39 



0^^ '''"^ X, 



THREE MADE- FOR- TV "MOVIES" 

TTLG 

Dramatized and directed by James 

MacTaggart; 74 minutes; aspect 

ratio 4.3; subddes: SDH (for 
deaf and hard-of-hearing) ; Dolby 

Digital 2.0; no extra features 

BAFTA TV Awards ( 1974) : won 

for Best Design; nominated 

for Best Single Play 

Geoffrey Chandler 

Earlier this year, BBC released two 
of their teleplays on DVD. The 
first is their 1973 retelling oi Look- 
ing-glass. Alice is played by Sarah 
Sutton, who was born on Decem- 
ber 12, 1961, in England. The 
movie was released on December 
25, 1973, which means she was 
eleven during the filming, making 
her one of the (very) few Alices 
who's not played by the usual teen 
or young adult (see my article 
"The Age of Alice," .KL 88:10). The 
two others are Natalie Gregory 
(nine), the Alice in the second 
part of this review, and Kristyna 
Kohoutova (seven or eight), in 
the stopmotion animated movie 
released in English as Alice, di- 
rected by Jan Svankmajer. Unlike 
Gregory, who wears a dreadful 
blonde wig, Sutton has a sheen of 
long, beautiful, golden-red-blonde 
natural hair; a large head, covered 
with brown freckles on her cheeks 
and forehead; a small mouth; 
and large, clear green eyes. Even 
though she recites her lines well, 
with a nice English accent, her 
acting is stiff and doesn't have that 
"Wonderland" look, but more of 
an earthbound one. 

No film was used in this dated 
and obviously low-budget produc- 
tion; it was taped using one of 
those early video cameras that 
gave everything a flat, "dry" look, 
like one of those 1950s stage plays 
shot live for TV in this country. 
But it is clear and sharp through- 
out, with a very good transfer, 
though the colors were rather 
muted. How ironic that it won an 
award for "Best Design": the crude 
sets look as if they were made by 




the parents of the children in a 
school play. And the special effects 
and costumes are almost embar- 
rassing, even cringe-worthy. 

(AAIW&jTTLG 

Produced by Irwin Allen, directed 

by Harry Harris; 90 minutes each; 

aspect ratio 4.3; subtitles: French; 

Dolby Digital 2.0; no extra features 

Geoffrey Chandler 

Released on December 9, 1985, it 
features the Alice of Natalie Greg- 
ory, discussed above. This CBS 
"movie" has one big edge: it was 
filmed in standard 35mm. Colors 
are rich, and details are (almost) 
sharp. But what makes this one 
stink are the songs, with music 
by Stephen Deutsch and Morton 
Stevens, and lyrics by Steve Allen 
(who also played the Gentleman 
in the Paper Suit). I felt I had to 
fast-forward through the songs — 
that is how bad they were! 

The only thing that gave this 
version something different and 
special was the Jabberwock. It's a 
very scary, mind-created monster, 
which a wise old Owl tells Alice is 
generated by her own fear. There 
were way too many minor charac- 
ters to keep track of. 

These two renditions are 
separated by the Atlantic Ocean, 
twelve years, and Alice's age (by 
two years). I wish I could have had 
more positive things to say about 
these productions, but the rarity 
of having young actresses playing 
Alice, in the seldom done second 
Alice story, was enough to demand 
a viewing. 



AAIW 

Dramatized and directed by 
Barry Letts; 120 minutes; aspect 
ratio 4.3; subtides: SDH; Dolby 

Digital 2.0; no extra features 

Mark Burstein 

The second of the two BBC re- 
leases is a Wonderland, originally 
aired as a weekly series of four 
30-minute episodes in 1986, and 
starring Kate Doming as Alice 
(born in Sutton, England, in 1963, 
making her a quite distracting 22 
during the filming). Beginning 
with the frame story (in b&w) of 
the Isis expedition, the story (now 
in color; can anyone say "Oz"?) 
is by and large faithful to the 
dialogue, albeit laden with (what 
seems to be de rigueur in such 
adaptadons) attempts to out-wit 
Carroll, and intermixed with songs 
(music by Stephen Deutsch). 
Animal characters are played 
by human beings with suits and 
masks, with no attempt at SEX; 
the exception is what appears to 
be an animatronic Cheshire Cat. 
I was charmed only by the visuals 
to "Father William," done in sil- 
houette by two acrobatic danseurs, 
although the necessity of having 
it sung (well within Ms. Dorning's 
four-note range) eluded me. As 
they say these days, "meh." 



After Such Kindness 

Gaynor Arnold 

Tindal Street Press, 

London, 2012. €12.99 

ISBN: 978 1 906994 94 5 

Clare Imholtz 

Why not kill two birds (reputa- 
tions) with one stone (book) and 
write a salacious novel impugning 
the sexuality of both Lewis Car- 
roll and Charles Kingsley, even if 
one knows next to nothing about 
them, and even if one is really not 
much of a writer at all? Surely it 
would sell. Such a thought must 
have occurred to Gaynor Arnold, 
the author of After Such Kindness. 

Imagine, if you can, a "thin, 
and awkward, and weak-looking" 



40 



stammering but clever Oxford 
don ("John Jameson") with "skin 
like a woman" who becomes 
overly friendly with the young 
daughter of the local curate (the 
latter's character is loosely based 
on the Victorian clergyman and 
novelist, Charles Kingsley) . The 
curate — a muscular Christian who 
loves to serve the poor but really 
can't afford to anymore — and his 
vrife encourage their 11-year-old 
daughter's frequent forays with 
the don. Once he even takes her 
to London, where she meets a 
slightly scandalous actress (who is 
not named Ellen Terry) who tells 
the girl she would look better with 
short hair. 

Imagine that this don, an ama- 
teur photographer, asks the little 
girl to pose naked for him and 
never breathe a word of it, which 
she happily does, for she is quite 
fond of him. The girl's parents 
don't suspect this, but they get 
very upset with the don anyway be- 
cause the little girl can't forget the 
actress's suggestion and cuts her 
hair while visiting the don in his 
rooms. The mother in particular 
begins to treat him coldly. 

And then imagine, if you can, 
that the little girl catches scarlet 
fever (also somehow blamed on 
the don), and when the mother 
and the girl's baby brother leave 
the house so the baby won't catch 
it, the father, feeling some obscure 
guilt, insists on nursing the girl 
full-time. He finds the nude pho- 
tographs (the don had given them 
to the girl!), and, not having had 
relations with his wife for quite 
some time (she almost died when 
last giving birth), he conflates his 
love and concern for his daughter, 
his love of God, his love of sex, 
and his love for his wife and takes 
advantage repeatedly of the sick 
little girl, believing sex is holy and 
will help to cure her. After we are 
treated to several scenes of the 
curate running around half-naked, 
he goes totally bonkers and even- 
tually dies in an asylum. The girl 
forgets everything, and when she 



grows up she doesn't know why 
she fears her husband's touch, 
until she rediscovers her child- 
hood journal. 

Well, I guess it takes some 
imagination to write a book like 
this — but little concern for truth 
and litde skill. For example, could 
one find names less authentic- 
sounding than John Jameson, 
James St-John Clark (his pseud- 
onym), Daisy Baxter (httle girl), 
and Daisy's Daydream (the story 
Jameson writes for her)? 

The novel unfolds mainly 
through the characters' journals. 
These are all written at incredible 
length and all in the same tiresome 
insipid voice. Daisy in no way writes 
like a child, though the author 
throws in the occasional misspell- 
ing in an attempt to trick us. 

And it is quite clear that the au- 
thor has not bothered to read any 
of Carroll's diaries. Here are a few 
examples from Jameson's journal: 

When Daisy's agrees to be his 
friend: "It was all I could do not to 
jump for joy." 

Later: "She laughed, and my 
heart shivered into many delicious 
pieces." 

"'Goodbye, Daisy,' I said, my 
heart hammering away under my 



shirt and my tongue feeling enor- 
mous in my mouth." 

But enough about this crude 
and preposterous novel. 



Les Aventures d' Alice au pays des 

menieilks &' De V autre cote du miroir 

Translated by Henri Parisot 

French notes by Jean Gattegno 

English notes by Hugh Haughton 

Illustrated by Pat Andrea 

2006 

www.editionsdianedeselliers.com 

€220 ($282) at amazon.fr 

(price may vary) 

Andrew Ogus 

Try to imagine the almost un- 
imaginable literate adult who has 
never encountered the Alice books, 
but is fortunate enough to happen 
upon Pat Andrea's superb version. 
An adult book with pictures as well 
as conversations! The enthrall- 
ing story's visual interpretation 
includes crayon, pastel, color 
pencil, charcoal, and paint, freely 
combining smudgy sketching and 
careful rendering with color that is 
sometimes spare, sometimes lush. 
David Hockney, Milton Glaser, 
and Salvador Dalf are brought to 
mind by the variations of style, 
sometimes even within a single 




Pat Andrea 



41 



picture. The characters, includ- 
ing Alice herself, are as mutable 
as the pig baby, but, dreamwise we 
never lose sight of who is who. The 
short-skirted Alice, and even the 
maternal pigeon and the dignified 
Red and White Queens, provide 
flashes of eroticism that never feels 
inappropriate. The White Rabbit's 
hard-edged house is strictly twen- 
tieth century. There is even an Oz 
reference for the Baum aficionado. 
Carroll himself frankly appears 
appropriately as the unicorn and 
frankly as the White Knight in a 
heartbreaking picture of his last 
glimpse of the newly royal Alice. 
I almost wish I were that posited, 
unimaginable reader; more than 
any other illustrations I've seen, 
these make me want to revisit the 
text with great care. 

The two oversize volumes, in 
the somewhat curious proportion 
of 12.5 inches wide 10.5 inches 
high, come in a handsome box, 
each accompanied by an attractive 
illustrated pamphlet of English 
notes. The texts are preceded by 
a selection of quotes paired with 
Andrea's paintings; details of these 
images sometimes fill entire pages 
in the books themselves. An ele- 
gant, lucid, and imaginative layout 
includes delightful and appropri- 
ate use of type of varying sizes ( Cf. 
KL 88:44). The original English 
unobtrusively accompanies Pari- 



sot's translation. Truly an Alice ior 
adults, previously read or not. 



^5 

Aceil in addelnnorW: A Bkoo 

Cory Abbott 

CreateSpace 

ISBN: 978-1468195293 

$13 

Mark Burstein 

Quite possibly the most eccentric 
of "translations," as it bills itself — 
although it is more or less in Eng- 
lish — this book's conceit is to take 
every individual word in Alice and 
rearrange the letters in alphabeti- 
cal order (an "alphagram"). Hence 
"Alice was beginning to get very 
tired. ..." becomes "Aceil asw beg- 
giinnn ot egt ervy deirt ..." The 
original and the alphagrammatic 
versions are presented on facing 
pages. 

Theoretically, reading the 
scrambled "bkoo"" results in 
greater facility at Scrabble® and 
other anagrammatic pursuits. 
Aehpprs. As Abbott suggests, 
seeing the alphagram "ghhottu" 
(thought) might be difficult the 
first few times, but as it appears 74 
times in the bkoo, eventually it will 
sink in. And for those of us inti- 
mately familiar with the text, read- 
ing this bkoo is not that difficult, 
rather fun in fact. "hWy is a aenrv 
eikl a giinrtw-deks?" 



This "translation" adds little 
to our appreciation of Carroll or 
wordplay, other than that this book 
was chosen as the first text to be 
so "translated," as is so often the 
case. But I did learn a few things: 
The 27,405 words in Wonderland 
comprise 2,576 distinct words. Not 
counting proper nouns, contrac- 
tions, and one-letter words, only 
eight words in the book are not 
valid in Scrabble®. Want to guess 
them? Answer on page 44. 

Note: in Aceil there are twelve 
non-Scrabble® words listed, but 
they were due to transcription 
errors. In the 1866 Macmillan 
edition those words were cor- 
rectly hyphenated and therefore 
Sc rabble®-wo r thy. 



Illustrating Alice 

An International Selection 

of Illustrated Editions 

ofAAma7idTTLG 

Artists' Choice Editions, 2013 

Standard Edition, £86 

ISBN 978-0-9558343-7-0 

Special Edition, 

bound quarter leather 

with a folio containing four 

signed and numbered giclee prints 

ISBN 978-0-9558343-8-7, £340 

Andrew Ogus 

We all know the beginning of the 
illustrating of Alice. This extraor- 
dinary volume, and the enormous 




A few of the Txueedle brothers, from the cover o/"Illustrating Alice 



42 



effort that must have gone into it, 
prove there is no end to it. Wliile 
everyone will have a personal reac- 
tion to every picture. Illustrating 
Alice wiW undoubtedly send its 
readers to Amazon, Alibris, and 
AbeBooks in search of particular 
editions that have caught their eyes 
(though some of the cover illustra- 
tions are unidentifed). 

Opening with historical/inter- 
pretive essays by various scholars 
around the world (including a 
number of LCSNA members), the 
book begins with a focus on Alice in 
various countries, with a generous 
selection of pictures from each. 
Michele Noret gives brief biogra- 
phies of each artist of the French 
publications she mentions. The 
Japanese, Russian, and American 
essays include their own checklists. 
Unfortunately, the layout of this 
section often makes it necessary 
to flip back and forth to find the 
particular image under discussion. 
A catalogue of all English-language 
editions (!), with bibliographic 
information taken from the Wakel- 
ing and Goodacre collections, falls 
at the back of the book. 

A personal essay by the Czech 
animator Jan Svankmajer and a 
discussion of animating Alicehy 
Karen Lury lead to an extensive 
selection of images o{ AAIW, 
happily organized by its original 
chapter titles. Each is accompa- 
nied by brief remarks by twelve 
contemporary interpreters, includ- 
ing favorites such as Barry Moser, 
Ralph Steadman, Helen Oxenbuiy, 
and Quentin Blake, although in 
some cases the particular author/ 
illustrator's piece for that chapter 
does not appear. Each precedes an 
international array of pictures in 
every imaginable style and every 
imaginable medium. The section 
on TTLG is similarly organized, but 
without text. Comparing examples 
of the range and interpretation of 
a single scene, from ephemera of 
various kinds (such as an astound- 
ing sand sculpture of the Mad Tea 
Party), to political cartoons, to un- 



familiar and international versions, 
is an endless delight. Restraints of 
space and cost must have made the 
choice of whom to include a dif- 
ficult task, and readers with a more 
encyclopedic knowledge than mine 
may note particular omissions and 
wonder why a few artists are rep- 
resented more than once. But in 
this volume comparisons are never 
odious and there are literally hun- 
dreds of delightful pictures that 
the casual collector is otherwise 
unlikely to come across (be sure 
to seek out the hilarious hitherto 
unpublished drawing by Ronald 
Searle at the back of the book). 

Sadly, the matte paper robs the 
illustrations of richness. The alter- 
nating colors in the inconsistently 
placed, rather clumsy display type 
do not enhance legibility. Some 
pictures bewilderingly fall into gut- 
ters and across spreads, alignments 
vary, and illustrator identifications 
have a tendency to float away from 
their respective images. Carroll's 
Underground and Tenniel's origi- 
nal pictures occur unpredictably, 
a surprise rather than a tool for 
comparison. 

Off with this criticism! Every 
caveat is vanquished by gratitude 
for the sheer quantity of the inter- 
pretations brought together here 
and their pleasures. Alice fills our 
heads with ideas, as she has those 
of the talented array of artists who 
have brought her to our eyes in so 
many wonderful ways. 

an 



The Graphic Canon, Vol. 2 

Russ Kick, ed. 

Seven Stories Press, 2012 

ISBN: 978-1609803780 

$35 

Mark Burstein 

Subtided "From 'Kubla Khan' to 
the Bronte Sisters to The Picture of 
Dorian Gray,"" this weighty tome (3V2 
lbs.) promises a visual cornucopia 
of excerpts of nineteenth-centuiy 
literature in formats ranging from 
conventionally — or unconvendon- 
ally — illustrated through "graphic 




A page of Dame Dacry 's work from 
The Graphic Canon 2. 

novel" (comics) to a simple gallery 
of images. Volume 1 ("From The 
Epic of Gilgamesh to Shakespeare to 
Dangerous Liaisons") came out ear- 
lier last year, and Volume 3 ("From 
Heart of Darkness to Hemingway 
to Infinite Jest") is due shortly. 
Many expected — and some unex- 
pected — names are here in the sec- 
ond volume: Poe, Twain, Melville, 
Flaubert, Byron, Nietzsche, Dar- 
win, and so on, but we, of course, 
will ignore all that and get straight 
to business: Carroll. 

A deluded, Idaho-born but 
now Los Angeles-based, soi-disant 
ardst/cartoonist {Meat Cake)/ 
filmmaker/ doll-maker/cable TV 
star/witch/clothing designer/ 
interior decorator/guitarist/singer 
("Death by Doll") calling herself 
Dame Darcy attempts to mash the 
two Alice books into sixteen over- 
wrought, overcrowded, god-awful 
pages indecipherable to anyone 
not indmate with the source, gen- 
erally consisting of illegible scrawls 
combined with clumsy, faux naif, 
cutesy, ill-proportioned pictures 
that feature a twenty-something 
Alice. Can you say "dilettante"? 

This is followed by a silhouetted, 
somewhat grotesque version of 
"Jabberwocky" by Eran Cantrell, 
and then a 22-page gallery of full- 
page illustradons — published. 



43 



unpublished, or online — from 
around the globe, in an astonish- 
ing range of styles and talent. A big 
deal is made in the introduction 
that one of the artists depicts Alice 
as black-skinned for the first time, 
conveniently ignoring the Swahili 
edition of 1967, Alitji in Dream- 
land (1992), Alitji in the Dreamtirne 
(1975), and such derivative vol- 
umes as Alice by Whoopi Goldberg. 
Whatever. Many such compilations 
of Alice art by a host of artists exist 
online and between covers; this 
selection is no better or worse than 
the rest. 

But despair not: The one bea- 
con of light in this area is "Fit the 
Second" of the Snark in extraordi- 
nary, witty renderings by one who 
bears more than a slight resem- 
blance to the editor of this very 
magazine. 

I would somewhat hesitatingly 
recommend this volume, but not 
especially for the Carroll material 
(except to completists). A huge 
host of talents, literary and artistic 
(known and unknown), is repre- 
sented in its 500 large pages, many 
offering fresh and unexpected 
perspectives on fiction, nonfic- 
tion, and poetry one may have 
thought overly familiar. Since, 
as with all compendia, one can 
browse, pick and choose, and read 
it in any order at any time, it will 



in the main fulfill its purpose. The 
introductory essays are generally 
informed and perceptive, and the 
excerpts and artists often well cho- 
sen and well matched, supplying a 
twenty-first-century perspective on 
canonical works of the nineteenth 
for a contemporary attention span 
and sensibility. 



EVERGREEN 

Since our last issue, the titles re- 
leased by the boundless bounty of 
Michael Everson's Evertype are: 

Sherry L. Ackerman's Behind the 
Looking-Glass: Reflections on the Myth 
of Lewis Carroll, introduced by Karo- 
line Leach — see KL 81:41 for a 
review of its original publication 
(ISBN 978-1-78201-017-3) 

Ailice's Anters in Ferlielann, Derrick 
McClure's translation of Wonder- 
land into North-East Scots (978-1- 
78201-016-6) 

Ma Loko o ke Aniani Ku ameka Mea 
i Loa 'a ia 'Aleka ma Laila, R. Keao 
NeSmith's translation of Looking 
Gtes into Hawaiian (978-1-78201- 
022-7) 

Der Alice ihre Obmteier im Wunder- 
laund, Hans Werner Sokop's trans- 
lation of Wonderland into Viennese 
German (978-1-78201-020-3) 



Alice in Beeland by Lillian Elizabeth 
Roy, illustrations by Julia Greene, 
first published by Cupples & Leon 
in 1919 (978-1-78201-018-0) 

ALvintyri Lisu i Undralandi, Wonder- 
land translated into Icelandic by 
E>6rarinn Eldjarn, first published by 
Mai og Menning in 1996 (978-1- 
78201-25-8) 

Alice's Bad Hair Day in Wonderland: 
A Tangled Tak by Byron W. Sewell, 
illustrated by the author (978-1- 
78201-009-8) 

LAventuros d Alis in Marvoland, Won- 
derland translated into Neo (an 
artificially constructed interna- 
tional auxiliary language created by 
Arturo Alfandari in the mid-twenti- 
eth century) by Ralph Midgley 
(978-1-78201-19-7) 

O Tafaoga a 'A Use i le Nu 'u o Mea 
Ofoofogia, Luafata Simanu-Klutz's 
translation of Wonderland into Sa- 
moan (978-1-78201-23-4) 

Ailis 's Anterins i the Laun o Ferlies, 
Andrew McCallum's translation of 
Wonderland into Synthetic Scots, the 
name given by the poet Hugh Mac- 
Diarmid to a project that sought to 
rescue Scots as a serious literary 
language (978-1-78201-026-5) 

Alice's Adventures in Wonderland 
illustrated by June Lornie, director 
of the Liverpool Academy of Arts 
(978-1-78201-037-1). 




ajunoABj 

piJAVOJJBq 

jouoq jaX 

XlpajuiBupooS 

l^X\v\p Bm jsa no 

paujn^s 

HaAVSNV 



44 



the 



ART (fkr" ILLUSTRATION 

Alice in Berlin is a fascinat- 
ing interactive installation 
by Ruth Sergei, displayed 
at Berlin's Multimedier 
Schlachthof. In the gallery, 
visitors watch Alice jump out 
of a book on a large screen, 
and then they realize that 
they can manipulate her mo- 
tions by moving their own 
bodies: "In front of the look- 
ing glass, fantasy and reality 
merge as Alice fluidly mir- 
rors the viewer's every move," 
artist writes. A video demonstration 
can be seen on Sergei's website, 
streetpictures.org. 

Etsy.com, the online community 
crafts marketplace, has certainly 
seen its share of crocheted Alice 
dolls and Tweedle-Dee rubber 
stamps, but there's not much Sylvie 
and BrT^no-inspired craftiness 
there. An uf>-and-coming illustra- 
tor named Iris Biran is changing 
that with a homemade, illustrated 
book of "The Mad Gardener's 
Song," which she is selling for $11. 

Canadian artist Tatiana lanovskaia's 
work is shown in Alice IN the Looking 
Glass: Illustrations and Artists ' Books, 
1865 to 2012, open through August 
2013. That exhibit, curated by col- 
lector Jeanne Harper, is at the Uni- 
versity of Rochester's Rare Book 
Department, and also includes 
illustrations by Bany Moser, Nancy 
Wiley, and George A. Walker. 

Ricardo Selma, an Argentinian 
artist of great technical skill, has 
many beautiful works (most featur- 
ing a beautiful woman in some 
state of repose) with nods to 
Klimpt, Mucha, The Wizard ofOz, 
and Alice's Adventures in Wonder- 
land. Some of the latter, including 
the pieces "El corazon de Alicia" 
and "No cuentes lo que viste en los 
jardines...," can be seen at his blog 
ricardocelma.blogspot.com. 

It is 30 years since Barry Moser's 
remarkable Alicehooks, were pub- 




C>o/*/^e.s/y Oft (/e/t Av 




lished, but it seems that Alice is still 
on his mind: Last December, R. 
Michelson Galleries in Northamp- 
ton, MA, hosted an exhibition of 
his original engravings and their 
preliminary sketches, along with 
brand-new works by Moser on the 
theme. 

Last January a group of 19 illustra- 
tors exhibited works inspired by 
Lewis Carroll at a week-long exhi- 
bition held at the Curious Duke 
Gallery in London, UK. 

Reimagining Wonderland, an exhibi- 
tion of work by Sean Hennessey, 
ran at the 410 GooDBuddY Gallery 
[sic] in Washington, DC, from 
September 28 to October 25 last 
year. Truly a mixed-media artist, 
Hennessey's sculptural friezes com- 
bine glass, concrete, steel, wood, 
paint, sound, video, LEDs, and 
electroluminescent lights. You can 
see photos on his website at dc- 
sean.com. 




A summer exhibition at 
the Oxford University 
Botanical Gardens in 
England will feature 
Mabel Odessey's pinhole 
photographs of vintage 
marionettes enacting 
scenes from AAIW. "The 
photographs, printed on 
foamex board of varying 
sizes, will be attached to 
stakes and planted in the 
garden like botanical 
signage; accompanying 
the images there will be smaller 
signs with passages from Alice in 
Wonderland and Through the Look- 
ing-Glass." The artist hopes the 
photos will encourage visitors to 
consider the garden as a setting for 
Alice's adventures. The exhibition 
will open on Alice Day, July 6, and 
continue through the summer. 



ARTICLES (fif ACADEMIA 

"So, now you try... 1) Change a 
CONSERVATIVE into a LIBERAL. 

2) Get a VERDICT from JURY 

3) Turn DOOR into WINDOW." 
These puzzles were posed by Lewis 
Carroll in The Lady, that old chest- 
nut of a magazine, in 1891. He 
called them "syzygies," from the 
Greek for yoke, and the challenge 
was to move from one word to an- 
other via words that share adjacent 
letters, e.g.: Walrus, peruke, harper. 
Carpenter. Carroll devised compli- 
cated rules for scoring his puzzles 
and jostled with readers over the 
technicalities of his game — like 
why "stalish" doth not count as a 
word, but "hoopest" doth ("I would 
not say to my child, 'Thou hoopest, 
I hear'; though I would (if I were 

a Quaker, and if I had a child, and 
if that child suffered from pertus- 
sis), mildly remark to him, "Thou 
whoopest, I hear'"). That quote 
and more about syzygies can be 
foimd in a nice article in The Lady 
herself, "Can You Crack Lewis 
Carroll's Syzygies?" published in 
the December 14, 2012, edition. 



45 



CONVEY to UNCONVERTED 
to CONVERSE to VERSIFIER to 
FIERCELY to PARCEL scores a 
whooping 19 points. 

Dr. Fran Abeles has articles appear- 
ing in two publications: first, "To- 
ward A Visual Proof System: Lewis 
Carroll's Method of Trees" Logica 
Universalisv. 6, 2012, 521-534. This 
article includes a report of the first 
solution to Carroll's "The Froggy 
Problem," which Graham Hawker 
has accomplished, and which is 
available on his web page. The 
second article is: "How Did Charles 
L. Dodgson View The Non-Euclid- 
ean Geometries?" The Carrollian, 
n. 23, 2012, 40-43. 

Lewis Carroll came from a large 
family, and got his start in chil- 
dren's entertainment by writing 
stories and staging plays with his 
siblings. One surviving example is 
the puppet play La Guida di Bragia, 
dating from the early 1850s. The 
LCSNA published the text in 2007 
with illustrations by Jonathan 
Dixon. Dixon also spoke at the 
LCSNA's Spring 2009 meeting in 
Santa Fe, followed by a marionette 
performance staged by Theater- 
work's artistic director David 
Olson. Good times! Last year, more 
American puppeteers tackled La 
Guida di Bra^a. Diane Lewis, who 
works at the Theatre Arts Depart- 
ment at Saddleback College in 
Mission Viejo, CA, collaborated 
with her students to create mari- 
onettes for the play, and they were 
featured in the Summer 2012 edi- 
tion of Art Doll Quarterly. The ar- 
ticle "Characters Behind the Cur- 
tain: Instructor Offers History 
along with the Magic of the Pup- 
pet," by Mozelle Sukut, included 
several illustrations, along with 
descriptions of Lewis's techniques, 
research, and teaching methods. 
The show was never produced, but 
the marionettes are very charming. 
You can see some photos of them 
on the LCSNA blog. 



"There is one large-scale motif 
running through the two [AZz'c^] 
books that has essentially escaped 
critical attention — the pervasive 
mediaeval theme." An academic 
study by Christopher Tyler called 
Parallel Alices: Alice Through the 
Looking Glass of Eleanor ofAquitain-e 
(The Diatrope Press, 2013), both 
identifies and seeks to right that 
wrong. "How it could have escaped 
scrutiny," according to Tyler, "given 
the prevalence of the mediaeval 
themes throughout both texts, is 
difficult to understand, but the 
present treatment attempts to 
correct this omission with an ex- 
tended comparison of numerous 
aspects of the sequences of events 
to those of the 12th century royal 
courts, in particular." The website 
for this book is parallelalices.com. 
Christopher will be speaking to us 
at the fall gathering in L.A. 

Amanda Lastoria, a Ph.D. student 
in publishing at Simon Eraser Uni- 
versity, delivered a paper on the 
subject of Lewis Carroll's business 
sense at the 1 10th Annual Confer- 
ence of the Pacific Ancient and 
Modern Language Association, 
held in Seattle, October 19-21, 
2012. The paper, "SeUing Wonder- 
land: How Lewis Carroll Built his 
Alice Empire," explored how Car- 
roll "acted as what we now title art 
director, production controller, 
marketer, financier, accountant 
and many other roles besides." 

Alice-themed photographs by Brit- 
ish fashion photographer Tim 
Walker appeared in the New York 
Times on October 21, 2012, as the 
paper marked the publication of a 
new collection of his work, Tim 
Walker: Storyteller (Abrams, $75), 
and an exhibition at Somerset 
House in London (October 2012 
to January 2013). Both the book 
jacket and the exhibition poster 
feature Walker's 2010 photo of 
model Karlie Kloss encountering a 
shattered Humpty Dumpty in a 
field of wheat. 



The opening of the new The Mu- 
seum of Mathematics (MoMath) in 
Manhattan occasioned a Carroll- 
inspired conundrum in "Number- 
play," the Monday detour into 
mathematics taken by the New York 
Times crossword blog. In the puz- 
zle, devised by Pradeep Mutalik 
and published on December 10, 
2012, Alice is asked a challenging 
question by a talking parabola. 

The Spring 2012 issue of the Princ- 
eton Library Chronicle featured on its 
cover a previously unpublished 
drawing of Sylvie by Harry Furniss, 
the illustrator of Lewis Carroll's 
Sylvie and Bruno books. An accom- 
panying "Cover Note" by LCSNA 
member Clare Imholtz included 
three additional unpublished 
Furniss drawings, along with some 
speculation as to how these draw- 
ings may or may not fit into the 
books. The drawing on the cover 
bore the mysterious legend "The 
Death of Sylvie." 




BOOKS 

"The Lavinia Whateleyvi?^ a Boojum, a 
deep-space swimmer, but her kind had 
evolved in the high tempestuous enve- 
lopes of gas giants, and their offspring 
still spent their infancies there, in 
cloud-nurseries over eternal storms." 
That's the definition of a Boojum 
from the short story "Boojum," by 
Sarah Monette and Elizabeth Bear, 
printed in the September 2012 issue 



46 



of Lightspeed, a magazine of sci-fi 
and fantasy fiction. The main char- 
acter is named Black Alice. "We got 
the word from Lewis Carroll," said 
the authors in an interview on the 
Lightspeed v/ehsiie. "The second story 
set in this universe, 'Mongoose,' 
features monsters called toves, raths, 
and bandersnatches." That story, 
"Moongoose," was published in 
The Year's Best Science Fiction: Twenty- 
Seventh Annual Collection (2010). 
"Within moments, the tove colony 
was in full warble, the harmonics 
making Irizarry's head ache. . . ." 

English Speech and Pronunciation 
Ltd. provides distance learning 
courses and personal tutorials 
aimed at teaching one to speak 
English "fluently, correctly, attrac- 
tively and confidendy, with a good, 
standard English accent and with- 
out making embarrassing mistakes." 
(If you are ever invited to play cro- 
quet with the Queen, you may want 
to talk to these people first.) A new 
tide in their Educated English Au- 
diobook Series is Fun and Nonsense 
Verse, a collection of poems by Lewis 
Carroll, Edward Lear, and others, 
read aloud by Peter Greenhalgh on 
two accompanying CDs ($23, in- 
cluding postage). 

Gears of Wonderland, by Jason G. 
Anderson, is a steampunk fantasy 
that sees ordinary James Riggs 
flung in a Wonderland he thought 
was only fictional. . . . "But things 
have changed since Alice's visit. 
The Knave of Hearts has seized the 
Heart throne, conquered all of 
Wonderland with his steam-pow- 
ered technological marvels, and 
rules the land with an iron fist." 
The self-published book is avail- 
able on Amazon as a paperback 
($8.99) or ebook download 
($2.99). There are an impressive 
number of positive reviews on both 
Amazon and GoodReads, one 
describing it as "a great introduc- 
tion to steampunk." 

Israeli children's author Adina 
Bar-El has just published a transla- 
tion of AA/W in to Yiddish. 



To obtain the book, contact Adina 
directly at adinabarel@gmail.com. 
The book sells for $25, including 
shipping from Israel. 



EVENTS, EXHIBITS 
&' PLACES 

An archaeology professor's attempt 
to uncover lost murals on his own 
university campus was the subject 
of a program that aired on San 
Diego public radio KPBS, January 
16, 2013. Professor Seth Mallios 
had heard rumors that murals were 
once common around San Diego 
State University and had already 
uncovered several when a tip-off 
from a retired librarian led him to 
a 1940s-era mural depicting char- 
acters from AA/Win a little-used 
stairwell, concealed beneath a coat 
of institutional beige paint. Mallios 
is now raising money to save the 
mural. The program is still avail- 
able on the KPBS website. 

Travel-stained copies of AA/Wand 
TTLG that once formed some of 
the more unlikely cargo on Cap- 
tain Scott's successful 1901 expedi- 
tion to the Antarctic have been 
sold at auction. The books from 
the library on board Scott's ship 
the Discovery sold for almost $3,500 
at Bonham's "Polar II Sale" in 
London on December 4, 2012. 

A thief with excellent taste has 
stolen a first edition of Alice's Ad- 
ventures under Ground inscribed to 
Carroll's friend Dorothy Katherine 
Comyns Carr, along with a first 
edition of Stephen Crane's The Red 
Badge of Courage inscribed by Elbert 
Hubbard "to his wife Bertha." If 
found, please return to the Brick 
Row Book Shop on Geaiy Street in 
San Francisco, Dorothy and Bertha 
having long since relinquished 
ownership. 

Also in the Lost &: Found is a 
Through the Looking-Glass chess 
board, hand-crafted in 1875 by Sir 
John Tenniel, discovered in a shop 
in London. "In summer 2011, an 
A&^themed chess board was 



bought by rare books dealer Jake 
Fior, who, upon closer inspection, 
discovered that it had been illus- 
trated by Tenniel himself and was 
one-of-a-kind," reported the UK 
Telegraph on November 7, 2012. In 
tribute to Tenniel's entrepreneur- 
ial spirit, Fior and partner Jo Hum- 
pris have crafted 150 exact repli- 
cas, to be sold for £3,500 each. 

OMG! "Not again! Paris Hilton 
runs out of fresh ideas for Hallow- 
een ... as she dresses up as Alice 
in Wonderland for the second 
time." So ran the headline in the 
UK's Daily Mail last October. "Paris 
Hilton certainly could have come 
up with something better than 
Alice in Wonderland. The socialite 
who lives to shock was less than 
thrilling as her version of Lewis 
Carroll's beloved heroine on Fri- 
day night." We're sure many mem- 
bers of the LCSNA have committed 
the same crime and not landed in 
the tabloids. 

Patrons who ventured up to the 
Skylight Galleiy at San Francisco's 
Public Library between September 
15 and December 2, 2012, were 
rewarded with "Draw Me a Stoiy: A 
Century of Children's Book Illus- 
tration," an exhibition of chil- 
dren's book illustration featuring 
12 books and 41 original works. 
Ralph Caldecott and Kate Green- 
away were there, as were artists 
from the twentieth centuiy, includ- 
ing W. W. Denslow, William Steig, 
and Chris Van Allsburg. On Octo- 
ber 25, our own Mark Burstein 
delivered the talk "Picturing Alice," 
in which he deftly guided listeners 
through a century and a half of 
Alice illustrators. 

In setting out to create a new Alice- 
inspired board game, designer Rob 
Stone decided first to check out 
every other Alice game in exis- 
tence. In doing so, he rediscovered 
a game that seems to have been 
forgotten by the official histories — 
probably the first Alice game ever: 
The Game of Alice in Wonderland, 
published by Selchow Sc Righter in 



47 



1882. Thanks to Stone's research, 
we now know that the rules of the 
game, which he found at Kent State 
University, go with a deck of cards 
held by the Lilly Library at Indiana 
University. Images of both can now 
be viewed on boardgamegeek.com. 
Since then. Stone has finished his 
own Alice game and is now raising 
funds to launch it through a Kick- 
starter campaign. Rob may be 
speaking to us at the Spring 2014 
gathering in New York. 

A kind benefactor has donated an 
1866 AAIWand an 1872 TTLG to 
the Marriott Library at the Univer- 
sity of Utah. The books will be 
available for students and the gen- 
eral public in the George S. Eccles 
Special Collections Reading Room. 

Japanese designer Yasutaka Funa- 
koshi captivated the crowd at 
Tokyo Fashion week last October 
with his runway show Alice in Won- 
derland in Me. Accompanied by a 
thumping electronic soundtrack, 
models galumphed down the cat- 
walk in deconstructed Victorian 
gowns, or half-hidden beneath 
gigantic top hats — one even wore 
part of the table from which Alice 
took the bottle marked "Drink 
me." "They're very different from 
real clothes," Funakoshi told Re- 
uters reporters, dressed in his own 
March Hare outfit. 

April 15th was celebrated through- 
out Major League Baseball by man- 
ifesting a most CarroUian notion, 
as all uniformed personnel (play- 
ers, managers, coaches, and um- 
pires) wore the very same number on 
their jerseys, thereby completely 
obliterating its usefulness {cf. Mr. 
Dumpty's remarks on Alice's face). 
That number was, of course, 42. 
We are not sure of the particulars 
of the decision process, only that it 
was made faster than you can say 
"Jack Robinson." 



INTERNET (Sr' TECHNOLOGY 

Couched amongst important lis- 
ticles like "24 Texts You Don't Want 
To Get From Your Parents" and "10 
Peaches That Resemble Pat Sajak," 
BuzzFeed found time on January 
13 to highlight Salvador Dali's Alice 
illustrations. "It was a match made 
in psychedelic Heaven," reads the 
byline. "Surreal and melty, just 
what you'd expect from Dali." 
There followed 13 high-quality im- 
ages of the great illustrations to be 
pleasingly displayed on your desk- 
top or tablet. (The Pat Sajak peach 
article, by the way, was from a 
McSweeney's parody of BuzzFeed, 
which also included "50 Photos of 
Bill Clinton's Forehead" and "Elvis 
Presley's 42 Sweatiest Moments." In 
response, BuzzFeed dutifully la- 
bored to create real posts for most 
of McSweeney's mock suggestions.) 
Searching for other Carroll-related 
articles on BuzzFeed — and there 
are many tasteful ones — we also 
discovered a post called "Snooki 
in Wonderland" from 2011, which 
showcased a blog devoted to alter- 
ing Tenniel illustrations so that 
they star the cast of the slimy re- 
ality s\iO^N Jersey Shore. {Snooki in 
Wonderland can be purchased as an 
eBook on Amazon.com for $0.99.) 
Thank you, Internet. 

If Alice didn't appreciate books 
without pictures or conversations, 
what would she have thought of a 
story that blurred the boundaries 
of literature, computer game, and 
art installation? Follow the White 
Rabbit is ]\xs,\. that, following an 
abstracted lagomorph into strange, 
nonlinear, interactive holes. (There 
are CarroUian elements, yes, but 
the "plot" also involves searching 
for a secret bagel-dough recipe.) 
The artists Ludmila and Sylvain 
Favardin, besides creating the thou- 
sands of interactive illustrations in 
the game, have also put out a fair 
amount of merchandising tie-ins, 
everything from a card game called 
PEXEZZLE to T-Shirts. FTM? itself 
can be downloaded in a variety of 



languages for 3.49€ or as a special 
edition DVD for 9.89€. 

There's a new web series, released 
straight to Linda Goetz's YouTube 
channel, called Brillig. Goetz plays 
a recently widowed Alice, and it all 
seems very low-budget Downton 
Abbey until "the Mad Hatter shows 
up in her world to challenge the 
rules of 'polite' society." Each webi- 
sode is about ten minutes long and 
can be found at brilligwebseries. 
weebly.com. 

Mirrors of Albion is a hidden object 
quest game inspired by both 
Through the Looking-Glass and The 
Adventures of Sherlock Holmes. Under 
the guidance of Cheshire Jr., part 
cat, part Victorian policeman, the 
aim is to navigate the streets of 
Victorian London, aiding or evad- 
ing Wonderland characters in the 
course of your detective work. The 
game is available as a free down- 
load for Apple and Android de- 
vices, although expect to be 
tempted with in-app purchases 
once you are suitably captivated. 

A new platform-style game for 
Apple devices has a slighdy curious 
premise: the White Rabbit is late for 
his date with the Queen, but Alice 
luon 't stop hug^ng him. Players must 
help the poor creature evade Alice's 
hindering embraces by clearing 
him an escape route through a 
sliding landscape. A Wonderland 
Story can be downloaded from the 
Apple Store for $0.99. 

Back when the iPad was just a twin- 
kle in Steve Job's eye, David Neal 
had the idea for an animated au- 
diobook that children could watch 
on a screen. Now, in his words, 
"Twenty years, twenty voices, three 
animators, an investor later, we 
have created Alice's Adventures in 
Wonderland by Lewis Carroll, The 
150th Anniversary Edition for Tablet 
Computers.'" In the audiobook, clas- 
sic illustrations from the nine- 
teenth and twentieth centuries are 



48 



partially animated and blended to 
create a strangely shifting, slightly 
hallucinatory visual accompani- 
ment to the unabridged text, read 
by actors. More information at 
www.alicewinks.com. 

Earlier this year we were contacted 
by Emmanuel Paletz, who is raising 
money to develop his own AAIW 
storybook app using the fundrais- 
ing website www.indiegogo.com. 
His dream is to tell the story using 
digital collages made from Dutch 
and Flemish Renaissance art: "To 
portray the colorful events and 
idiosyncratic characters of this 
book, Paletz gleans bits and pieces 
from Jan van Eyck, Joachim Patinir, 
Quentin Matsys, Hans Holbein, 
Sandro Botticelli, Pieter Brueghel 
the Elder, Hieronymus Bosch and 
more, combining them into his 
signature visual collages which 
dazzle the eye." Links to previews 
of the work can be found on the 
LCSNA blog. 



MOVIES •is' TELEVISION 

First things first: Logically, a sequel 
would be expected from a movie 
that made more than $1 billion 
worldwide. However, most of the 
fifteen films in that elite club have 
been sequels or prequels. (It's a 
club full of hobbits, pirates, wiz- 
ards, lightsabers, and batmen — all 
with so much story that needed 
telling, they necessitated prequels.) 
Whether Tim Burton's Alice in 
Wonderland (currentiy#12 in the 
club) was a sequel already is a mat- 
ter of debate. But if the world is 
dying to know what happened to 
Alice after she set off to colonize 
China (isn't that how the Burton 
film ended?), it may one day find 
out: Linda Woolverton has written 
a script for Alice 2. (Possible tide 
suggestions: Alice Returns to Under- 
land Again, Part 11: Absolem 's Asiatic 
Opium War.) Editor's Note: In 
1871, Lewis Carroll (the author of 
the original book Alice's Adventures 
in Wonderland), penned an actual 



sequel called Through the Looking- 
Glass, and What Alice Found There. 

Are we living in the golden age of 
Alice adaptations, or some sort of 
plasdc one? T}}£ Onion?, AV Club 
summed up their opinion in a per- 
fect headline: "NBC has its own Alice 
In Wonderland show, making three of 
these damn things now." In the 
article Sean O'Neil lamented that, in 
addition to Alice-themed storylines 
in ABC's Once Upon A Time, several 
other TV studios will attempt new 
Alice in Wonderland-demed series 
soon: Lionsgate won the rights to 
the Zenescope graphic novels 
(bringing much needed decolletage 
and ass-kicking to Wonderland) ; the 
CW's Wunderland is some sort of cop 
procedural set in contemporary 
LA.; and NBC's new show is about a 
girl named Clara who discovers a 
Wonderland ruled by evil Queen 
Alice. Since 2013 is the year that also 
brought us Jack the Giant Slayer ($120 
million worldwide) and Hansel &f 
Oretel: Witch Hunters ($205 million 
worldwide), it should come as no 
surprise that studios keep going 
down the rabbit hole for violent fairy 
tale "adaptations." 

The now-traditional Alice-themed 
special episode continues to ap- 
pear. Several were spotted this 
season: TNT's Leverage dared an 
episode on December 4, 2012, 
called "The White Rabbit Job" with 
a character named Charles Dodg- 
son and the titular con set in an 
American town called Oxford; Hot 
Set, SyFy's reality show about set 
design, had an episode last Octo- 
ber that was Wonderlandilicious 
(Season 1, Episode 4, available on 
Amazon Instant Video for $1.99); 
and CBS's daytime talk show The 
Talk also had an Alice-themed 
Halloween episode last October. 



PERFORMING ARTS 

A radio adaptation of TTLG, dra- 
matized by Stephen Wyatt, aired 
on BBC Radio 4 in the UK on 
December 22, 2012. With plenty of 
asides from Lewis Carroll/Charles 



Dodgson on subjects from science 
to photography, and a cast com- 
posed of the BBC's most well-loved 
radio presenters, the adaptation 
was lauded as a clever and witty 
retelling suitable for all ages. It 
can be purchased from iTunes or 
AudioGO.com for around $5. 

Peter and Alice, Paul Logan's new 
play inspired by the real-life meet- 
ing of Alice Liddell and Peter 
Llewelyn Davies in 1932, has now 
opened at the Noel Coward The- 
atre in London, with Judi Dench 
and Ben Whishaw in the tide roles. 
Unless it's a real stinker — and re- 
views so far have suggested nothing 
of the sort — there seems every 
chance that a run on Broadway 
could follow. 

What better subject for un Cirque- 
Poeme than Wonderland? Fabrice 
Melquiot created a show with 25 
performing artists from I'Academie 
des arts du cirque de Tianjin (the 
Academy of the Chinese National 
Circus) called Alice de Lewis Carroll, 
which ran from December 2012 
through January 2013 at the 
Theatre de Lyon, France. 

The National Ballet of Canada 
were welcome visitors to the 
United States with their touring 
production oi Alice's Adventures in 
Wonderland, choreographed by 
Christopher Wheeldon and scored 
by Joby Talbot. Performances were 
held at the Dorothy Chandler 
Pavilion in Los Angeles in October 
2012 and at the Kennedy Center, 
Washington, D.C., in January, 2013. 

The Connecticut Ballet also pre- 
sented an Alice in Wonderland in 
October 2012. The child-oriented 
show included spoken narration by 
artistic director Brett Raphael and 
was performed once in Stamford 
and once in Harvard. 

Completing the hat-trick of Alice 
ballets this season, the Cincinnati 
Ballet presented the regional pre- 
miere of Septime Webre's ALICE 
(in wonderland) from October 26 to 
28, 2012. Matthew Pierce's score 



49 



was performed by the Cincinnati 
Symphony Orchestra. Webre's 
creation will next be performed by 
Ballet Hawaii in August 2013. 



n« 

SK 

THINGS 

Out of Print, an online clothing 
and gift company, "celebrates the 
world's great stories through fash- 
ion." They also partner with Books 
for Africa to donate one book to 
a rural African school for every 
product sold. Their Alice in Won- 
derland line succeeds in looking 
decidedly fashionable — you might 
even say hipster — and includes two 
styles of T-shirt, a sweatshirt, a tote 
bag, and an eBook/iPad cover. 

There have been plenty of Won- 
derlandy slot machines, but this is 
the first time we've seen one in- 
spired by "Jabberwocky" specifi- 
cally: "Jabberwock^'^ and his cast of 
quirky characters will amuse and 
entertain," reads the copy. (Kudos 
to Spielo International for getting 
the monster's name correct, a task 
that has defeated many an adapter 
of Carroll not in the slot machine 
business.) Knights and dodos are 
among the quirky character cast. 
Available for purchase if you own 
a casino. 

Want to get wrapped up in a good 
book? The Alice in Wonderland 
Storybook Blanket is a 60" by 58" 
throw, stitched with text and im- 
ages from chapter six of AAIW. 
Made of 75 percent recycled cot- 



ton, it is sold online by Uncommon 
Goods ($75). 

Cindy Watter's e-mail was titled 
"My son just brought home a very 
strange-looking and tasting bever- 
age." She'll forgive us if we quote 
her in full: "First, it is in pharma- 
ceutical brown glass, and looks like 
the sort of thing girls in William 
Faulkner novels swill when they are 
trying to induce miscarriage. Its 
label says 'UNDERGROUND.' At 
40% alcohol, it has an odd mix of 
flavors, rather like those of the 
"Drink Me" bottle, with cherry, 
honey, and licorice dominating. I 
think it's terrible, but it will prob- 
ably sell like crazy." Following fur- 
ther research, we can tell you the 
"handcrafted herbal spirit" is dis- 
tilled in Ogden, Utah, by Five 
Wives Vodka. Unfortunately its 
name is not actually inspired by 
Carroll, but is a reference to nine- 
teenth-century Ogden's disrepu- 
table quarter, known as "Two-bit 
Street." As Tom Waits sang, 
"There's a world going on under- 
ground." 

Try to imagine a pair of transpar- 
ent stockings with either the White 
Rabbit, the Hatter, or Alice playing 
croquet printed on a single leg, 
thus creating the illusion of a styl- 




ish lower leg tattoo. If you can't 
quite picture it, search for "tattoo 
tights," or their maker, "Hakosem," 
on Etsy.com ($19 a pair). 

Would you believe that four differ- 
ent companies make posters fea- 
turing the full text of AAIW? It's 
good news for CarroUians who like 
to have choice: Each poster is dif- 
ferent in design and dimensions 
and, of course, price. For images 
and descriptions of the posters, 
and for links to the retailers, we 
recommend (as ever) that you visit 
the LCSNA blog and the post 
"Alice at a Glance: One-Page Won- 
derlands" from February 1 of this 
year. If you would like to make 
your own investigations, the four 
companies are Spineless Classics, 
Postertext, Novel Poster, and Lito- 
graphs, all discoverable online. 

Still on the theme of one-page 
Wonderlands, Spineless Classics 
makes a 672-piece jigsaw depicting 
the entire text of AAJW writ small 
. . . very, very small ($29.99). 

Last but not unimportant, there's a 
dramatic video trailer for a new 
product line from erotica retailer 
Doc Johnson. The music is a bla- 
tant rip-off of Danny Elfman's Alice 
in Wonderland theme, and the slo- 
gan at the end reads: "See how far 
the rabbit hole goes and explore 
the entire collection." The collec- 
tion includes "The White Wabbit," 
"The Mystical Mushroom," "The 
Kinky Kat," and "The Pleasurepil- 
lar." No Lewis Carroll collection is 
complete without a mushroom- 
shaped adult toy. 



50 



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s 


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uottniog puomssou[) 




*r 




/f^Ei' 





K'S 



i>7\^ 



WO 




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